The Official Blackbook Price Guide to United States Coins

Important notice: All the information, including
valuations, in this book has been compiled from reliable
sources, and efforts have been made to eliminate errors
and questionable data. Nevertheless, the possibility of
error, in a work of such immense scope, always exists.
The publisher will not be responsible for any losses that
may occur in the purchase, sale, or other transaction of
items because of information contained herein. Readers
who feel they have discovered errors are invited to write
and inform us, so they may be corrected in subsequent
editions.
Copyright © 2012 by Random House, Inc.
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eISBN: 978-0-375-72347-6
Fifty-First Edition: June 2012
v3.1
CONTENTS
Cover
Title Page
Copyright
Note to the Reader
Introduction
U.S. Territorial Coinage
Mobile Computing and Its Impact on
Coin and Paper Money Collectors
Coin Auction Sales
Expert Tips on Buying and Selling
Coins
Publications
Errors and Varieties
The American Numismatic Association
ANA Collector Services
The United States Mint
How U.S. Coins Are Minted
Mint Marks
About the Prices in This Book
How to Use This Book
Official ANA Grading System
Colonial Coins, Patterns, and Tokens
First United States of America Mint
Issues
Half Cents, 1793–1857
Large Cents, 1793–1857
Small Cents
Two-Cent Pieces (Bronze), 1864–1873
Three-Cent Pieces
Nickels
Half Dimes, 1794–1873
Dimes
Twenty-Cent Pieces—Liberty Seated,
1875–1878
Quarters
Half Dollars
Silver Dollars
Dollars
Gold Dollars, 1849–1889
Quarter Eagles—$2.50 Gold Pieces
$3.00 Gold Pieces
Stella—$4.00 Gold Pieces
Half Eagles—$5.00 Gold Pieces,
1795–1929
Eagles—$10.00 Gold Pieces, 1795–
1907
Double Eagles—$20.00 Gold Pieces
Commemorative Coinage
Gold and Silver Bullion Coins
Commemorative Medals
U.S. Proof Sets, 1936 to Date
U.S. Mint Sets, 1947 to Date
BU Rolls
Primary Metals
Silver Coin Value Chart
Gold Coin Value Chart
Weights and Measures of U.S. Coins
Civil War Tokens
Confederate Coinage
Glossary
Fast-Find Coin Reference Index
Other Books by This Series
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OFFICIAL BOARD
OF CONTRIBUTORS
The authors would like to express a
special thank-you to:
Q. David Bowers, Wolfeboro, NH
03894, for his article “Coin Auction
Sales” and modern commemorative
photographs,
Dale H. Cade, Rancho Palos Verdes,
CA 90275, for his article “Civil War
Tokens,”
Tom Culhane of The Elusive
Spondulix, Union, NJ 07083, for his
article and pricing information,
Mike
Ellis
at
C.O.N.E.C.A.
(Combined
Organizations
of
Numismatic Error Collectors of
America), Donalsonville, GA 31745, for
his article “Errors and Varieties,”
Stephen Bobbit at The American
Numismatic Association, Colorado
Springs, CO 80903, for the Official ANA
Grading Section,
a n d Michael White at The
Department of the Treasury, United
States Mint, Washington, DC 20001, for
photographs and mintage figures.
SHARE YOUR
KNOWLEDGE
We would be interested in your
questions and comments regarding
buying and selling one piece or an
entire collection.
OR
You may have information that
would be of interest to your fellow
collectors. In either case please
write to:
Tom Hudgeons, P.O. Box 555737,
Orlando, FL 32855-5737
Please send a SASE for a reply.
Are you interested in becoming a
CONTRIBUTOR?
If you would like to join our Board of
Contributors and have your name
printed in the next edition, please let us
hear from you.
Please send a SASE for more
information to: Tom Hudgeons, P.O.
Box 555737, Orlando, FL 32855-5737
INTRODUCTION
By Tom Culhane
Welcome to the 2013 edition of The
Official Blackbook Price Guide to
United States Coins. This traditional
hobby guide is now in its 51st edition and
continues to offer the latest coin pricing
information in up to six different condition
classifications for collectors at all levels.
The most dramatic shift in prices seems to
highlight the increasing demand for highend rarities while the overall weak
economy has put a damper on average
collectibles in all areas.
The year 2011 witnessed the
nationwide average for a gallon of gas
exceed $3.50 per gallon. Obviously this
did not bode well for the hobby industry
—one that relies on people’s excess
funds. Gold closed out the year just above
$1,600; down from the $1,923 peak set in
late summer. Silver started the year at
$26.68, climbed to a springtime high of
almost $50 an ounce, and ended
December by falling back under $30. It
does not appear that mining has produced
more to meet the growing demand of the
past few years. In fact, production has
been on a slight decline. Despite
continued worry over U.S. debt, it was the
waning of investor confidence that seems
to have been the cause for the price drop.
Each taxpayer’s share of our national debt
is approximately $50,000, and close to a
half trillion dollars annually is just going
towards interest payments. As such, many
of these negative factors have left
collectors of common coins with a less
active market. There are pockets of
vibrant activity in certain collectordominated categories, including both US
Philippine issues and fine to extra fine
Barber halves. The common date Barbers
in problem-free shape are still in demand.
They did not survive in great numbers due
to relatively low mintages and high usage
at the time of issue. Active collectors
continue to seek out the scarcer issues and
a look back 5 or 10 years will show a
steady upward price trend. The Philippine
specialists are hard-pressed to find the
coins America issued in the early 20th
century to fill their collections.
The US Mint regularly issued large
quantities of new issues for the
collector/investor with the number of mint
state silver eagles nearly reaching forty
million. Assuming an average cost of
approximately $40, that equates to a $1.5
billion market without even figuring the
proof issues. While the state quarter
program sparked interest throughout the
general public, we are currently without a
coin program for circulation drawing any
extensive interest among the masses. The
presidential series of dollars along with
the Indian-theme dollars continue despite
little interest. Even the Lincoln issue came
and went with virtually no fanfare. The
National Park quarter series seems to lack
any of the excitement previously
witnessed during the state quarter
program. The 2012 new releases with
Puerto Rico, New Mexico, Maine,
Hawaii, and Alaska featuring such themes
as El Yunque’s coqui tree frog, or the two
kivas honoring Chaco culture might
intrigue a trivia expert but hardly draw
much public interest. Events like the 200th
anniversary of the War of 1812 have been
completely overlooked in 2012, but the $5
series of presidential wives coins drags
on with mintages of below 10,000 after
the initial four offerings of 2007.
The America the Beautiful silver 5ounce issues do not seem capable of
overcoming problems associated with the
initial ordering process, thus sharply
limiting collector participation. The Mint
had the same shortsighted approach when
it offered 100,000 sets of five silver
eagles to mark the 25th anniversary of this
coin. The vast majority was left
disappointed at the quick sellout.
Perhaps all the money spent on modern
issues and the weakened state of the
economy will give readers of the 2013
Blackbook the opportunity to contemplate
purchasing some of the reasonably priced
classic coins. Many of the pre-1905
Morgan dollars certified by PCGS or
NGC are available at retail prices of only
one third or one half of what they cost 25
years ago. Both the Franklin halves in
choice to gem condition and the pre-1955
commemorative silver halves are down
20 to 60 percent from a generation ago.
The year 2012 will see the Olympics
return to London. It is worth noting that
since Finland produced the first modern
Olympic coin, the silver 500 Markkaa for
the 1952 Helsinki games, most coin issues
generally bring only bullion value at
resale. The U.S. may feature another
sports motif in the commemorative series
in 2014 as efforts to mark the 75th
Anniversary of Cooperstown’s Baseball
Hall of Fame are underway. The historic
significance of this 75th year likely falls
short of such a prestigious happening but
another money-making shot for the Mint
may override these considerations.
Those involved with the high-end
rarities market have a much brighter
outlook. Trophy coins, those rarities and
condition census pieces which garner
media attention, were led by the Brasher
Doubloon selling by private treaty in
excess of seven million dollars. Sharp
competition exists among those who can
afford the top of the market specimens as
they vie for whichever becomes available.
To judge the overall strength of the highend market, we must combine the
published private treaty sales with public
auction results. What is revealed is an
active, up market. Both of the dominant
companies, Stacks-Bowers and Heritage,
produced sales warranting separate
catalogues for paper money, world coins,
ancients, as well as US coins. Events
were often being held in conjunction with
major numismatic events, usually the ANA
or FUN show. A plethora of fine material
resulting in sales of over $60 million in a
week of auctioning during FUN or $40
million at the ANA has become the norm
at these annual events. Occasionally, an
off-the-market collection will surface at a
regional auction. This was the case in
2011 when Centennial Auctions in New
Hampshire had the pleasure of selling an
original group of fresh 19th and 20th
century proof sets along with collector
sets of coins in exceptional condition. Due
to the exceptional quality of the material,
auctioneer Steve Schofield was able to
bring in millions of dollars and set price
records on a number of coins—it was the
highlight of his career. Early in 2012, a
Baltimore firm sold another group of
excitingly fresh material that brought in
major buyers who paid strong prices.
Regardless of the financial status of
your collection, this hobby has always
offered the opportunity to gain knowledge
in several fields while enjoying yourself.
Readers of the 2013 Blackbook can study
coins of any value while pursuing a great
hobby.
Tom Culhane, a coin dealer since
1979, operates his coin store, The Elusive
Spondulix, at 954 Stuyvesant Avenue,
Union, NJ 07083 and the Web site
www.rarecoin.com. He was also a
grading consultant who spent more than
ten years working with the two major
grading firms PCGS and NGC along with
grading for Stacks, the New York auction
firm. The television program Jeopardy!
has consulted with Culhane to verify
numismatic questions. He is a member of
several numismatic organizations and an
authorized dealer with the major grading
services for more than twenty years.
Culhane has been the design proposer for
two U.S. Commemorative postage stamps:
Irish Immigration and the James Cagney
issue. He is currently working towards
acceptance of his current proposal to
honor Saint Patrick’s Day with a U.S.
Commemorative postage stamp.
U.S. TERRITORIAL
COINAGE
PHILIPPINE COINAGE
The United States held sovereignty over
the Philippines after paying $20 million to
Spain at the end of the Spanish-American
War and issued their coinage from 1903 to
1945. Proof coins were struck in
Philadelphia from 1903 to 1908, while
business strikes were minted in San
Francisco. By 1920 the United States had
opened a branch mint in Manila, and
Philippine coinage was struck there.
During WWII, production shifted back to
the U.S. mainland.
For more information on Philippine
coinage, please refer to The Official
Price Guide to World Coins.
MOBILE COMPUTING
AND ITS IMPACT ON COIN
AND PAPER MONEY
COLLECTORS
By Tom Bilotta Carlisle
Development Corporation
During the past year, the trend toward
computing platforms other than the
traditional desktop PC has continued to
accelerate. Tablet computers such as the
iPad and its Windows-based competitors
have exploded in use and are now
commonly used for functions previously
performed
on
traditional
PC’s.
Smartphones and e-readers also continue
to become more useful and will play an
increased roll in collector applications.
PORTABLE COMPUTING
Portable computing has much to offer,
especially when supported by access to
your data via the internet. For collectors,
use of portable devices is in its infancy.
Most
available
collector-oriented
applications are primarily internet
browsers, often enhanced to present
content optimally on the mobile device.
But apart from browsing web content,
there are very few numismatic software
applications available on these devices.
One of the challenges of mobile
computing particular to the coin collecting
market is the basic demographic. The
average age of coin collectors is quite
high and many collectors suffer from
eyesight limitations. On home PCs this can
be addressed by very affordable, largescreen monitors. Small mobile devices
tend to use small fonts to allow maximum
content. In the future, flexible, expandable
screens may help address this issue.
CLOUD COMPUTING
The real benefits of mobile devices for
collectors will be realized when user data
can be maintained in the cloud and
accessed anywhere. In such an
environment, a collector could maintain
his collection on his PC at home and
access it from his cell phone or tablet
while attending a show or traveling by
airplane. The collector’s ability to work
with his collection would not be limited to
time spent at home. Synchronization of
data would be automatic.
Cloud Computing: Security
There are a number of issues to be
resolved before these benefits are
attainable. One of the major ones is
security. There are daily reports of
security breaches on the internet. These
affect governments, major financial
institutions and corporations and
individuals alike. The willingness of
collectors to place their sensitive
collection data in the cloud will depend
on their confidence in the security of their
data. It is clear that today we do not
understand enough about internet security
to build truly robust and impenetrable
defenses. Even major institutions such as
the Defense Department are “hacked”.
Cloud Computing: Applications
Availability
Another issue is the development of
collector applications software intended
to exploit mobile computing. Such
software has to present the capabilities of
robust PC-based collectibles software
optimized for the smaller viewing area
and touch interface of the mobile device.
These applications must also perform
well in the more limited resource
environments available on mobile
devices.
The smaller screen areas of mobile
devices make it more difficult to present a
large amount of information on one screen
as well as manipulate it for analytical
purposes. Mobile devices currently
address this by allowing the user to
employ virtual pages which are larger
than the device and which can be accessed
by simple hand motions.
Cloud Computing: Standards
Several major corporations are setting
up resources for cloud computing. These
include Apple, Google, and Microsoft. It
remains to be seen how these
environments will interact. Ideally for the
user, data would be seamlessly shared
between these environments. A user on a
Windows-based PC at home should be
able to access their data without regard to
the specifics of the servers on which it is
maintained. The same user should be able
to access the same data on an IPhone at a
remote location.
Cloud Computing: Reliability of Access
Early users of cloud computing have
experienced significant periods during
which their data was not accessible. This
unreliability will be an impediment to
widespread dependence on the cloud.
Cloud infrastructure must approach the
uptime of other utilities such as your
telephone and electric power, which are
expected to be up and running very close
to 100% of the time. This will require
substantial buildup of infrastructure that is
not commonly employed for internet
computing currently. Redundant data
centers and communications paths will be
required throughout the entire network.
Choosing the Right Portable Device for
You
The choice of a portable device is a
personal one and is driven as much by
your typical usage, physical limitations,
and other considerations. Many users will
employ multiple portable devices for
different purposes. Many coin collectors
are older and would have difficulty with
the small screen size and keys on an ereader or smartphone and would be better
served by a traditional laptop or tablet
computer. If you find an affordable ereader or tablet computer which provides
adequate viewing quality for you, it will
likely be a very convenient choice for all
sorts of internet activity associated with
your collecting pursuits.
THE INTERNET
As in recent years, Internet activity by
collectors continues to grow. The trend
towards cloud computing is one of the
newest growth areas of internet activity.
COIN COLLECTING SOFTWARE
Coin collecting software that runs on
your own computer avoids the problems
of internet catalogs and provides you with
rich functionality to work with your
collection.
Collectors who adopt computer
inventory programs increase their
enjoyment of collecting, provide the
needed documentation to protect their
collection, gain insight into the value of
their collection and better prepare their
families to deal with their collection if the
need arises.
In order to exploit the power that
computers bring to collecting, the
collector must acquire a base level of
knowledge sufficient to harness this
capability in a safe and productive
manner. The remainder of this article will
focus on some of the more important
points of using numismatic inventory
software.
Coin & Paper Money Inventory
Software
One of the first applications of a
computer is to organize a collection. This
activity requires cataloguing what you
have, deciding how it will be grouped and
determining what kind of reports you will
need. Reports will assist you in defining
your collecting objectives, tracking value,
and assuring your collection is adequately
protected and insured.
Organizing Your Collection with Coin
& Paper Money Inventory Software
Collectors of coins and currency fall
into several categories. There is the
serious coin collector who enjoys the
hobby and pursues personally defined
collecting objectives. Accumulators retain
many of the coins that they receive in
normal commerce and build up large
quantities of unsorted coins. Investors use
coin collecting to build portfolios
intended to produce profits. Inheritors
receive a coin collection or accumulation
from their families and must decide how
the y will handle a potentially valuable
asset.
All of these collectors have a common
need to catalog their items and understand
their value. Most collectors also have
accumulated many items with a very wide
range of values.
A modern inventory program can adapt
to meet the needs of all types of users
from novice collectors to experienced
experts. It will
incorporate a
comprehensive database of coin and/or
paper money to assist the user in
identifying and defining their collections,
as well as a flexible set of functionality to
enable them to organize their collection in
a manner consistent with their collection
methodology.
Most collectors will want to organize
their collections into several groupings.
The collector will want to create
collections that mirror their physical
collection. For example, someone with
coin albums of common series such as
mercury dimes, statehood quarters, or
buffalo nickels will want to have software
albums organized in similar fashion. Other
coins might be grouped into coins for sale,
duplicates, partial collections for other
family
members, or any other
categorization which suits the collector.
Using Your Time Wisely
When using computer software to
catalog a coin or paper money collection
it is important to use it in a manner
consistent with your purposes and which
will enhance your enjoyment. You should
spend your time, therefore, working with
the portions of your collection in which
you have the most interest or where the
primary financial value exists.
For example, if you are collecting a
complete set of Mercury dimes, you may
wish to scan an image of each individual
piece so that you can print picture catalogs
of your collection. For these coins, you
might choose to enter in complete
information including purchase price,
source, certification information, origin,
etc. For this type of grouping you will also
likely want to include coins that you don’t
have that are required to complete your
collection, enabling you to generate want
lists. This will also assist you in
identifying the cost to complete your
collection and planning your approach.
For large quantities of relatively
inexpensive items or coins worth only
bullion content and where you have no
particular collecting interest, you might
choose to only enter a single line item and
not bother to take the time to list each coin
individually. For example, if you have
several hundred silver Washington
quarters in circulated condition from the
1950’s and 1960’s you might enter a
single line item 225 Washington Quarters
with a date range and average value. In
this way, large accumulations can be
tracked with minimum effort and your
attention can be focused on your real
collecting interests. Your coin inventory
program should adapt to all of these
possible approaches to organizing your
collection.
Evaluating Coin and Paper Money
Inventory Software
The quality of the software that you
purchase will greatly impact the success
of your efforts.
One of the most important parts of a
coin inventory program is the database.
The
database
contains
standard
information about coins and paper money
and saves the user from having to type this
information manually. The greater the
amount of information in the standard
database, the easier the task of data entry.
A modern coin collecting program, at a
minimum should include coin type, date,
mint mark, denomination and variety.
Comprehensive programs, such as those
made
by Carlisle
Development
Corporation also include such information
as designer/engraver, coinage metal, size,
weight, edge, and mintage. The
organization of the database should reflect
commonly used groupings and thereby
provide users with guidance in organizing
their collections.
Some inventory programs include
current market values. It is important that
these are updated frequently and produced
by reliable sources. Coin values should
evolve to include areas of high market
interest. For example, over the past year,
the market interest in high grade recent
coin issues has become very high. It is
also important to allow the user the ability
to extend the database to include items that
are not listed. These may be specialized
varieties, private mint products, or other
coin related collectibles.
Ability to share data with other
programs and people is also very
important. Most computerized collectors
are connected to the Internet and will want
to share some information with other
collectors and dealers. The ability to
export listings in common text readable
formats for transmission over the Internet
or for input into a word processor or
spreadsheet is of great value in buying and
selling coins and paper money.
Carlisle Development’s inventory
software, Collector’s Assistant provides a
comprehensive database of all coins ever
minted by the United States Mint. This
includes all types of coins by date and
mint mark, bullion coins, sets, old and
new commemoratives. Recent additions to
the database are the 50 states circulating
quarters and the new Sacagawea Dollar.
Coin values are licensed from Coin
World, Inc., an industry leader in
pr ovi di ng coin valuations. Quarterly
updates are available by subscription,
allowing collectors to maintain trends of
their values. Carlisle Development’s
Currency Collector’s Assistant has a
complete database based on Friedberg’s
Paper Money of the United States, 19th
Edition. This database includes all U.S.
Paper Money, including Confederate notes
and Encased postage stamps. A
relationship with CDN, publisher of the
Greensheet, makes value information
available to the paper money collector in
electronic format.
For collectors of ancient coins, Carlisle
offers an add-on database containing color
images of several hundred ancient coins
and a specialized interface containing data
entry fields appropriate for ancient coins.
For example, the date field can handle and
sort mixed AD/BC dates and has long
fields for obverse and reverse
inscriptions. The most recent additions to
Carlisle Development’s databases include
the Euro Coin Database and World
Currency Database.
Report Generation
Once you have entered your coin
collection into an inventory program, the
most important function will become its
ability to generate a wide array of reports
and/or exports for informational purposes.
You will probably want to have a
detailed listing, identifying items, their
value, and where they are stored for
insurance purposes. You will want to
generate partial lists of your collections
for sales and trading. You may want to
generate labels to aid in identifying your
coins. You may want to look at your
collection in many different ways such as
sorted by value or metal content or
collection completeness.
One common need of coin collectors is
the printing of inserts for 2 flips. Once
catalogued, computer software can allow
you to produce customized flip inserts in a
standard format of your own design.
Report generation is the subset of an
inventory program which produces the
listings that you view on the screen, print
on paper, or export to other computer
applications. Its flexibility will greatly
impact its utility. For example, you may
want to generate two listings of coins that
you have for sale, one which includes
your cost and target price (your copy) and
one which does not include this
information for general distribution to
prospective buyers.
At various times, you will probably
want to be able to list any subset of the
information fields, filter based on a wide
array of parameters and sort using
different criteria.
As mentioned at the beginning of this
article, report generation may be used to
output PDF files which may be viewed
using a portable device such as an E-Book
reader.
Other Functionality You Should Expect
from Your Inventory Software
Inventory software should be able to
store all of the information in which a
collector is interested. Specific fields will
vary based on collector interest and
purpose. Some will require detailed
certification and descriptive information,
others comprehensive purchase and sales
history. Some collectors will want to have
comprehensive recording of storage
location and insurance information.
Modern programs provide sufficient
information fields to meet all of these
needs.
Backup and restore functionality should
allow the user to easily protect the data
they have meticulously entered. History
charting enables the user to track the
changes of value of a part of their
collection over time.
Good software must be easy to use and
supported by context sensitive help which
provides the user with detailed
instructions in a “how-to” format on all of
the basic functions that they will wish to
perform.
Availability of Timely Updates
Once you have taken the time to catalog
your collection in a computer program,
you will want to preserve your investment
by having access to database updates
incorporating information on new coin
releases as well as changes in value. Your
supplier of inventory software should
have a timely program for availability of
annual database and value updates.
Educational Software for Collectors
Adding significantly to your enjoyment
of collections are electronic information
sources that exploit the power of the
computer to present you with high quality
information in an easily accessible format.
These
programs
can
provide
comprehensive knowledge of all aspects
of coin collecting, detailed information on
grading coins, and specialized information
such as collecting coin varieties.
COIN GRADING
Most coin collectors will want to be
able to grade their coins, at least to an
approximate grade. This enables them to
have an understanding of value as well as
identify coins that might be appropriate
for certification. Coin grading skill is built
up through time and experience.
The Grading Assistant, offered by
Carlisle Development is based on the
official Grading Guide of the American
Numismatic Association, now published
by Whitman Publishing. It enables the user
to view side-by-side images of their own
coins along with various grades from the
ANA grading set. These images are
supported by detailed descriptions of the
wear points for each grade. Using
software such as the Grading Assistant, a
user can develop their skill in grading
coins and establish approximate grades
for their collection.
VARIETY COLLECTING
The collecting of coin varieties is an
exciting area of the hobby currently
experiencing some growth. Varieties are
the result of differences in the minting
process or dies which produce design
differences and/or errors. These include
such effects as doubling of some features
or letters, extra pieces of metal on the coin
surface and die breaks. Variety collecting
requires the collector to identify subtle
differences in coin designs.
The Morgan dollar series is one of the
most commonly collected and is
categorized by many varieties. Carlisle
Development offers a Top 100 Morgan
Dollar CD, based on the book written by
Michael Fey and Jeff Oxman. This work
provides
pictures,
identification
information, and values for the most
sought after and valuable Morgan dollar
varieties. It provides a spectacular set of
high quality pictures to assist you in
identifying these coins and also the full
text and information provided in this
work.
GENERAL EDUCATIONAL WORKS
ON COLLECTING
There is much to learn about coin
collecting, whether it is technical
knowledge such as grading and
authentication or practical knowledge
such as buying and selling coins, attending
trade shows, or participating in auctions.
Educational computer software offers
advantages over printed works in that the
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COIN AUCTION SALES
By Q. David Bowers
Auctions are perhaps the truest test of
coin values. One can talk about “bid” and
“ask” prices in various numismatic
publications, but do actual transactions
occur at these figures? The bottom line is
that a coin is worth what someone will
pay for it. An auction price, assuming that
the sale is conducted in a professional
manner, that “reserves” are disclosed, that
the catalog is widely distributed, and that
the sale is publicized, represents what a
given coin, token, medal, or piece of
paper money is worth in a given moment
of time. For example, if I were to state to
you that a certain coin in Very Fine grade
fetched $1,200 at a recent sale, you would
be hard pressed to argue that it was worth
only $500 or, conversely, that it was
worth $3,000. Rather, $1,200 represents
the current market value at the moment.
However, sometimes in the case of
“name” sales, coins will bring more than
their normal prices at auctions. Let me
explain:
Auction “Fever”
There are a lot of interesting stories that
can be told with regard to auction sales. A
number of years ago, the New Netherlands
Coin Company conducted an auction in
which some uncirculated examples of
early Lincoln cents were offered on an
individual basis. A 1915 Philadelphia
Mint cent surprised spectators by selling
for four or five times what everyone
thought it would fetch. Later, it developed
that both bidders were competing for what
they thought was a different lot! The
auction record price was publicized
(without explanation of the bidding
mistake), and, overnight, the price of the
1915 Lincoln cent in Uncirculated grade
multiplied in catalogs and reference
books!
In another instance, I recall offering a
1909-S V.D.B. cent in one of my own
auction catalogs. I attended the sale and
was amazed as the price went over current
retail levels, then double retail, and then
even further. Both buyers were people I
knew, so after the sale I asked them for the
rationale of their bidding. Both stated that
they wanted a coin pedigreed from the
sale and illustrated in the catalog, and this
was more important than buying it for a
reasonable price!
Similarly, in our sale of the Garrett
collection for The Johns Hopkins
University, 1979–1981, a common
Washington-Carver commemorative half
dollar, worth perhaps $15 at the time, sold
for several hundred dollars because of its
pedigree! The New York Times
illustrated and featured this otherwise
common coin, sold at a spectacular price,
in one of the articles concerning the event.
The Eliasberg Collection, sold by us in
1996 and 1997 and containing the
fabulous 1913 Liberty Head nickel, saw
many unbelievable prices for other coins
as well.
HOW TO BE A SMART BIDDER
How should one participate in an
auction? In my opinion, it is best to plan in
advance. I recommend contacting different
auction firms requesting sample copies of
their catalogs, but please bear in mind that
often a charge must be paid as catalogs
can be very expensive to publish. Review
the catalogs, paying particular attention to
the Terms of Sale as they fluctuate from
firm to firm. Issues to be concerned with
are buyer’s fees, return privileges,
bidding options, etc. You are legally
bound to those terms, and they are put into
the catalog for a specific purpose—not
just for entertaining reading. Do not take
them lightly or fail to read them!
Then determine the type of coin offered
and subscribe to the catalogs you find to
be best. If you have a specialty—such as
tokens, medals, obsolete paper money, or
the like—you may find that one or two
firms issue specialized catalogs. If your
interests are simply the general U.S.
series, then you have a very wide
selection. In any event, I recommend that
you subscribe to multiple auction catalogs
so that you can get a “feel for the market.”
After a sale takes place, you will receive
a copy of the prices realized list, which
will guide you in future bidding.
A typical auction firm will issue a
catalog describing each lot in detail. If
you have a question about a piece, that
question can often be answered on the
telephone. Many firms will gladly
accommodate your request for a phone
description. Furthermore, if you are an
established collector with a history of
successful coin buying, and are known to
the auctioneer, an arrangement may be
made whereby the coin can be sent to you
for inspection, providing that the coin is
returned the same day and that you pay
postage and insurance both ways. This
courtesy is commonly referred to as “mail
inspection.”
Participation in an auction sale can be
by mail or in person. Before each auction,
there is a lot-viewing period during which
each lot can be personally inspected. Most
auctioneers firmly state that anyone who
has had a chance to view lots beforehand,
or anyone who is a floor bidder, cannot
return a coin for any reason whatsoever,
with the exception of authenticity. So do
your homework earlier, not later!
Bidding by Mail
If you plan to bid by mail, send in your
bid sheet as early as you can. Most
auction firms accept bids via mail, fax,
and telephone. If you are unknown to the
auction house, you may be required to
send a deposit and/or references to secure
your bids. This is a normal procedure that
protects the auction house and consignors
by eliminating competition that is not real.
When compiling your bids, first
determine the lots you are interested in
and the amount you are willing to pay for
each. Be aware of current price levels. If
a certain variety of Morgan silver dollar
generally brings $500 on the retail market,
the chances aren’t very good that a bid of
$300 will make you the owner.
Conversely, there is no particular point in
bidding $800 for it if you can buy one
somewhere else for $500, unless you like
the pedigree, toning, or some other aspect
that differentiates the piece. Many auction
houses offer a reduction in the top bid if
competition permits, but not all companies
follow this practice. In any event, it is best
not to count on this, for if you bid $1,000,
you may very well be charged $1,000.
Once your bids are compiled, you can
determine whether to utilize some of the
special bidding options offered by the
auction house. These special options help
the mail bidder place as many potentially
winning bids as possible.
Floor Bidding
As sales to floor bidders are usually
final, it is important to study each piece
carefully during the lot-viewing time
permitted before the sale. I suggest
viewing some coins that are not in the
mainstream of your collection specialty
but, at an appropriate price, might still
prove to be a good buy. For example,
there is nothing more frustrating than to be
a silver dollar specialist who has looked
only at Morgan and Peace dollars, and to
be sitting in the auction room when a
gorgeous Liberty Seated silver dollar
comes up, only to realize that you did not
take the time to look at the lot before the
sale.
Bidding strategy at the sale itself has
furnished the topic for endless
discussions. Should I sit in the front? Or,
will I better know what is going on if I sit
in the back? Or, perhaps on the side
would be best. There are no rules. Pick
your favorite.
Most auction houses furnish bidders
with paddles or cards with printed
numbers. Some bidders flick their paddles
almost unnoticeably while others hold
them up in the air like a banner. Personal
preference is the key, but be sure the
auctioneer knows what you are doing. If
the auctioneer misses your bid, call out
right at the time the lot is being sold.
Generally the auctioneer at his discretion
may reopen a lot if he feels that a
legitimate mistake has been made on the
auction floor, but he will not do this on a
consistent basis for the same bidder who
isn’t paying attention.
After the sale, check with the
accounting department of the firm and
make payment. You may wish to take the
coins with you, or you may wish to have
the auctioneer ship the coins to your home
or office. Unless you have a resale permit,
you will be liable for city or state sales
tax in the area in which the auction was
held.
YOUR ROLE AS A SELLER—
FINDING THE RIGHT AUCTIONEER
If you have a group of scarce and rare
coins to sell, and the coins are valued at
several thousand dollars or more in total,
auction may be the route for you. By
exposing your coins in an auction catalog,
thousands of potential bidders can become
acquainted with them. On the other hand,
if you have miscellaneous coins of low
value, or bullion-type coins, a dealer with
an over-the-counter business may offer a
better price to buy such items for store
stock.
How to choose an auctioneer? Here are
some questions you should ask:
What is the commission rate? What is
the buyer’s fee? Some auction houses will
offer a reduced commission rate but an
increased buyer’s fee.
What do I get for this rate? Are there
any extra charges? Are catalog
illustrations
extra?
What
about
photography? What about advertising? It
is a practice for some auction houses to
give a “minimum price” or cut-rate fee,
and then charge extra to bring the service
up to “normal.” Find this out in advance.
Once the auction takes place, when will
the settlement date be? How will I receive
payment? Can I receive a portion of the
expected realization in advance? If so,
what interest rates are charged? What is
the financial reputation of the company?
Does the company have adequate
insurance? How can I be sure that my
valued coins and other numismatic items
are in truly safe hands?
Does the auction house allow reserves?
Can I bid on my own coins? What is the
anticipated market for my consignment?
What happens if someone bidding on my
coins fails to pay his auction bill?
What type of coins has the firm handled
in the past? Does the company specialize
only in certain areas or does it offer many
different services? How large is the staff
and what are the qualifications of the
individual staff members?
What is the reputation of the firm? What
do past consignors think of the
performance of the auction house? Is the
company familiar with die varieties, great
rarities, and obscure coins in addition to
ones normally seen?
What do the firm’s catalogs look like?
Are the descriptions appealing? Are the
descriptions authoritative? What is the
quality of the mailing list? Does it contain
proven bidders? What type of advertising
will be done for the catalog featuring my
coins?
In what town or city will the event be
held? What are the facilities like?
I suggest that each of the preceding
questions be answered with care; you may
well think of other questions in addition.
IT’S THE BOTTOM LINE THAT
COUNTS
Several years ago, I and another
member of the Auctions by Bowers and
Merena staff traveled to visit with the
heirs to a very large collection of U.S. and
world coins. Our firm offered a 10%
commission rate to sell the pieces, stating
that they would be presented in a Grand
Format™ color-illustrated catalog with no
expense spared when it came to
advertising, publicity, and the like.
While the owners of the coins seemed
to be very impressed with our track
record, the appearance of our past
catalogs, our reputation, and other factors
there was one problem: A competitor had
offered to do it for no commission rate at
all! It was stated that the competitor’s
profit would be determined only by the
buyer’s fee.
To make a long story short, the coins
were awarded to a company whose main
expertise was not in coins but rather in art
and furniture. The sale came and went,
and instead of realizing the approximately
$1.5 million that the heirs hoped for (and
which I felt could be achieved with
proper presentation), only about half that
amount was obtained! Dealers at the sale
had a field day, for few collectors had
received a copy of the catalog. I later
reviewed a copy of the prices realized
and noted that many issues sold for
fractions of what I felt they could be sold
for by my firm or, for that matter, by other
leading rare coin auctioneers. Virtually no
advertising was placed by the other
auction firm. And, apparently, many of the
catalogs went to people who were not
proven buyers of the type of coins being
offered.
To expand upon this further, if an
auctioneer sells a coin for $1,000 hammer
price and charges you 10%, thus netting
you $900, it might be a much better deal
than if another auctioneer sells your coin
for $600 and charges you no fee at all—
netting you $600. If you were considering
having surgery done, or having an
architect design your house, or having
your portrait painted, I cannot envision
you saying “I am looking for the cheapest
rate.” Rather, such considerations as past
performance would be more important. So
it should be with coins as well. As I
believe John Ruskin said, “the bitterness
of poor quality lasts much longer than the
sweetness of low price.”
A LASTING TRIBUTE
There are some aesthetic considerations
to selling at auction. A finely prepared
catalog can be a memorial to you and your
collecting activities. Although the coins
once owned by you are in new hands, the
catalog will remain a lasting tribute to
your collection for you to enjoy. In
addition, most people who have spent
many years collecting coins enjoy the
pride and satisfaction that comes with the
recognition a beautiful catalog provides
when their collections are sold.
If you form a collection over a long
period of years, and if you enjoy
numismatics to its fullest extent, selling
your collection by auction can be the high
point of your accomplishments.
Meanwhile, as you build your
collection, auctions provide an interesting
and exciting way to acquire pieces that
you need.
Have fun!
AUCTIONS BY BOWERS AND
MERENA
Auctions by Bowers and Merena, Inc.,
has had the good fortune of being in the
forefront of numismatics for many years.
We have received more “Catalog of the
Year” honors awarded by the Numismatic
Literary Guild than all of our competitors
combined. Of the top three most valuable
U.S. coin collections ever to be sold at
auction, we have cataloged and sold all
three—the
$44,900,000
Eliasberg
Collection, the $25,000,000 Garrett
Collection, and the $20,000,000 Norweb
Collection.
If you would like an “Auction Kit,”
which will include a current auction
catalog and a full-color brochure on
consigning your coins to auction, please
send $10 to Auction Kit, Auctions by
Bowers and Merena, Inc., PO Box 1224,
Wolfeboro, NH 03894.
If you’d like immediate information on
the most profitable way to sell your coins
call Q. David Bowers, chairman of the
board, at 1-603-569-5095. Contacting us
today may be the most financially
rewarding decision you have ever made.
EXPERT TIPS ON BUYING
AND SELLING COINS
Intelligent coin buying is the key to
building a good collection at reasonable
cost. Today, with the added confusion of
split grading, slider grading, and the
devious practices of some coin sellers, it
is more necessary than ever to be a skilled
buyer.
In the interest of supplementing the coin
pricing and identification in this book with
practical advice on astute buying, the
editor presents the following article. It
reviews major pitfalls to which an
uninformed buyer might succumb and
gives specific suggestions on getting the
most for your money when buying coins.
The editor wishes to state clearly that
the exposure of questionable practices by
some coin sellers, as detailed below, is
not intended as a general indictment of the
coin trade. The vast majority of
professional coin dealers are ethical and
try to please. Moreover, it can be safely
stated that if the hobbyist restricts his
buying exclusively to well-established
coin dealers, he runs very little risk.
UNSATISFACTORY SOURCES OF
COINS
Unsatisfactory sources of coins—those
entailing a higher than necessary degree of
risk—include flea markets, antiques
shops, garage sales, private parties who
are unknown to you, auction sales in
which coins are offered along with nonnumismatic
merchandise,
and
advertisements in magazines and
newspapers published for a general
readership rather than for coin collectors.
This advice is given to benefit the
nonexpert buyer and especially the
beginner. Advanced collectors with full
confidence in their coin buying skills will
sometimes shop these sources to find
possible bargains.
Mail-Order Ads in
National Magazines
The sharp rise in coin values during
1979 and 1980 encouraged many
promoters to deal in coins. (Promoters are
persons who aren’t coin dealers in the
accepted sense of the term, but who utilize
coins for
large-scale mail-order
promotions.) The objective, nearly
always, is to sell coins to buyers of
limited knowledge and thereby succeed in
promising more, and charging more, than
would a legitimate professional coin
dealer. Undoubtedly such promotions are
extremely successful, to judge from the
number of such ads that appear regularly.
Here are some examples of the
headlines they use:
“Genuine Silver Dollars Struck by the
U.S. Mint …”
“Real John F. Kennedy Silver Half
Dollars …”
“Cased Set of U.S. Mint Morgan
Dollars …”
“Unbelievable But True: U.S. Silver
Dollars at Only $21.95 …”
The ads look impressive and sound
impressive. They show enlargements of
the merchandise. They quote facts and
figures, often with historical data. They
present a variety of guarantees about the
coins, and there is no misrepresentation in
those guarantees. You do receive genuine
coins struck by the U.S. Mint. They really
are 90% silver if you order Morgan or
Peace dollars. But the price you pay is
from twice to three times as much as if
you bought from a real coin dealer. In the
legitimate coin trade, the coins sold via
these ads are looked upon as “junk coins.”
They command a very small premium over
their silver bullion value. They are not
only the most common dates but are
usually in miserable condition.
To lend credibility, the promotors will
normally use a company name that gives
the appearance of being that of a full-time
coin dealer. There is nothing illegal in
doing this, but it does contribute to the
misleading nature of such ads.
Let’s examine some of the specific
methods used in today’s ever-increasing
deceptive coin ads. You will soon see
why coins, especially U.S. silver coins,
have become a favorite of mail-order
promoters: They can be “hyped” in a most
convincing manner, without making
statements that are patently false. Thus, the
advertisers skirt around—though narrowly
—allegations of mail fraud. (Fraud cannot
be alleged on the basis of price, as a
merchant is free to charge what he pleases
for whatever he sells.)
1. Creating the impression that the
coins offered originate from a hidden or
sequestered cache not previously
available to the public. This is
accomplished by the use of such phrases
as, “Just found, 2,367 specimens,” or
“Now released to the public …” The
assertion that they were “just found” is not
wholly inaccurate, however. The
advertiser has, more than likely, located a
dealer who could supply wholesale
quantities of junk coins. The coins
themselves were never lost or hidden.
“Now released to the public” has nothing
to do with official government release nor
release by a court. It simply means the
advertiser is selling them.
In a very few isolated cases, in which
mail fraud charges were brought, ads have
gone beyond this kind of assertion-byinnuendo. They actually stated that the
coins were from secret government
stockpiles. One of them wove an elaborate
tale of silver dollars being taken to
special storage locations by the army
during World War I. Such an event never
occurred, and that is the basic difference
between
prosecutable
and
nonprosecutable ads. If an advertiser
merely hints at something, but does not
state it as fact, he is usually within the
law.
2. Leading the potential customer to
believe the coins are scarcer or more
valuable than they really are. This is
done via numerous techniques. Among the
favorites is to compare the advertiser’s
selling price against prices for other coins
of the same series. An ad offering Morgan
dollars for $27.50 may call attention to the
fact that “some Morgan dollars have sold
for $20,000, $50,000, and more.” Yes,
they have. They are the rare, desirable
dates in UNC, not the common, circulated
coins you receive from the advertiser.
When half dollars are offered, it will be
said that “you just can’t find them in
circulation any longer.” It’s entirely true
that Walking Liberty halves, Franklins,
and the lone 90% silver Kennedy half
(1964) cannot be found in day-to-day
circulation. But coin dealers have them by
the roll and sell them for less than you
will pay through such an ad. The fact that
these coins are not found in circulation is
not an indication of rarity. Many coins
carrying very little premium value over
their face value cannot be found in day-today circulation.
3. Emphatic guarantee that the coins
are genuine. On this point the advertiser
can speak with no fear of legal
repercussion. His coins are genuine and
nobody can say otherwise. But, even
where absolute truth is involved, it can be
—and is—presented in such a manner as
to give a false impression. By strongly
stressing the coins’ authenticity, the
message is conveyed that many
nonauthentic specimens exist and that you
run a risk in buying from someone else.
Such is far from the case. Any large coin
dealer can sell you quantities of perfectly
genuine Morgan dollars, Peace dollars, or
any other coins you want.
4. Implication that the coins offered
are in some respect “special,” as
opposed to specimens of the same coins
available at coin shops. This presents an
obvious difficulty for the advertiser, as his
coins are just the opposite of special:
usually heavily circulated, often with
actual damage such as nicks, gouges, etc.
It is not, however, insurmountable. The
advertiser can keep silent about the
condition of his coins and present them as
some sort of special government issue.
Usually this is done by selling them in
quantities of four or five and referring to
them as “U.S. Mint Sets,” “Government
Mint Sets,” or something similar. The
uninformed reader believes he is ordering
a set assembled and packaged by the Mint.
The Mint does assemble and package sets,
as everyone knows. But it had no part in
these! Assembling and packaging was
done by the advertiser. Regardless of how
attractive the box or case may be, it is not
of official nature and lends absolutely
nothing to the value. The Mint has never
issued cased or boxed sets in which all
the coins were of the same denomination.
In these hard-sell sets you will find such
combinations as two Morgan dollars and
two Peace dollars, four Morgan dollars,
or three half dollars. Dates are a purely
random selection. And, we repeat, the
coins are in well-worn, circulated
condition.
5. Failure to state actual silver
content. This falls under the heading of
deception by silence. The potential
customer is left to draw his own
conclusions and the advertiser knows full
well that those conclusions will be wrong,
provided, of course, that the ad is worded
in such a way that it lends itself to
incorrect conclusions. Typically this sort
of advertiser is selling Kennedy halves
dated from 1965 to 1970. During these
years the Kennedy half contained some
silver but not very much—just 40% (after
1970 it contained no silver at all). Its
silver content was less than one half that
of 50-cent pieces struck prior to 1965. In
fact, it was even less than the silver
content of pre-1965 quarters. Very few
individuals, aside from coin hobbyists,
are aware of this reduction of silver
content in half dollars from 1965 to 1970.
When silver coins are advertised they
automatically think in terms of 90% silver.
Yet the advertiser is legally within his
rights in referring to 40% silver coins as
silver. As the 40% silver coins look just
like their 90% silver predecessors, few
purchasers will suspect they’ve overpaid
—until they have them appraised.
6. Creation of gimmicked names for
coins. By calling a coin something
different than its traditional numismatic
name, it is made to seem more unusual or
special. Everyone is familiar with
Kennedy half dollars but what about
“Kennedy Silver Eagles”? This is a
promoter’s name for the Kennedy half,
used in an effort to glamorize it. It is
highly inappropriate.
7. False references. Advertisements of
this type are sometimes accompanied by
doubtful or fairly obvious fake references
on the advertiser’s behalf. Taking his cue
from legitimate coin dealers, whose ads
nearly always refer to their membership in
coin organizations and often carry other
easily verifiable references as well, he
feels he must present similar assurances of
his background and reliability. Since he
has nothing too convincing to offer in the
way
of
genuine references, he
manufactures them. He invents the name of
a mythical coin organization, of which he
is either a member in good standing, an
officer, or perhaps even president. If he
chooses not to go quite that far, as he
might be caught in the deception, he can
take a less volatile course and claim
membership in “leading coin collector and
dealer organizations” without, of course,
naming them. This is just like the ads for
questionable diet aids that say, “Tests at a
leading eastern university have shown …”
No one is likely to check all 500 or more
eastern universities, or enter into a debate
about which ones are leading, or what
they may be leading in.
Of the various other unsatisfactory
sources of coins, the dangers they present
should be fairly obvious.
RECOMMENDED SOURCES OF
COINS
As a general rule, coin purchasing
should be confined to the following
sources:
1. Professional coin dealers who sell
coins at a shop and/or by mail order.
2. Auction sales conducted by
professional coin dealers or auction
houses making a specialty of coins.
3. Shows and conventions for coin
collectors.
Another acceptable source, though
unavailable to many coin hobbyists, is the
fellow collector with duplicate or surplus
specimens to sell or trade. This source is
acceptable only if the individual is known
to you, as transactions with strangers can
result in problems.
If a coin shop is located in your area,
this is the best place to begin buying. By
examining the many coins offered in a
shop you will become familiar with
grading standards. Later you may wish to
try buying at auction. When buying from
dealers, be sure to do business only with
reputable parties. Be wary of rare coins
offered at bargain prices, as they could be
counterfeits or improperly graded. Some
bargain coins are specimens that have
been amateurishly cleaned and are not
considered desirable by collectors. The
best “bargains” are popular coins in good
condition, offered at fair prices.
The dangers of buying from sources
other than these are overgraded and
consequently overpriced coins; nongraded
and likewise overpriced coins; coins that
have
been doctored,
“whizzed,”
chemically treated, artificially toned, or
otherwise altered. Buying from the
legitimate, recommended sources greatly
reduces but does not absolutely eliminate
these risks. The buyer himself is the
ultimate safeguard, if he has a reasonably
thorough working knowledge of coins and
the coin market. In this respect experience
is the best teacher, but it can sometimes be
costly to learn from bad coin buying
experiences.
COIN BUYING GUIDELINES
Smart coin buyers follow certain basic
strategies or rules. They will not buy a
rare coin that they know little or nothing
about. They will do some checking first.
Has
the
coin
been frequently
counterfeited? Are counterfeits recorded
of that particular date and mint mark?
What are the specific grading standards?
What key portions of the design should be
examined under magnification to detect
evidence of circulation wear?
The smart coin buyer may be either a
hobbyist collecting mainly for the sport of
it, or an investor. In either case he learns
not just about coins but the workings of the
coin trade: its dealers and auctioneers and
their methods of doing business. It’s
essential to keep up to date always, as the
coin market is a continual hotbed of
activity.
When buying from the recommended
sources there is relatively little danger of
fakes, doctored coins, or other obviously
unwanted material. If such a coin does
slip through and escape the vigilance of an
ethical professional dealer, you are
protected by his guarantee of authenticity.
It is highly unlikely that you will ever be
“stuck” with a counterfeit, doctored, or
otherwise misrepresented coin bought
from a well-established professional.
Merely avoiding fakes is, however, not
the sole object of intelligent coin buying.
It is, in fact, a rather minor element in the
overall picture. Getting the absolute most
for your money in terms of properly
graded coins at fair prices is the prime
consideration. Here the responsibility
shifts from seller to buyer. It is the
dealer’s responsibility not to sell fakes or
misidentified coins. But it is the buyer’s
responsibility to make certain of getting
the best deal by comparing prices and
condition grades of coins offered by
different dealers. Quite often you can save
by comparison shopping, even after your
incidental expenses are tabulated. The
unique nature of the coin market makes
this possible.
Prices do vary from one dealer to
another on many coins. That is precisely
the reason—or at least one of the primary
reasons—for the Blackbook. If you could
determine a coin’s value merely by
checking one dealer’s price, or even a few
dealers’ prices, there would be minimal
need for a published price guide. The
editors review prices charged by
hundreds of dealers to arrive at the
median or average market prices that are
l i s te d in the Blackbook. Prices are
matched condition grade by condition
grade, from UNC down the line. The
results are often little short of astounding.
One dealer may be asking $50 for a coin
priced at $30 by another. And there are
sure to be numerous other offerings of the
coin at $35, $40, $45, and various
midpoint sums.
It is important to understand why prices
vary and how you can utilize this situation
to your advantage.
Some readers will remark, at this
juncture, that prices vary because of
inaccurate grading.
It is unquestionably true that personal
applications of the grading standards do
contribute to price differences. What one
dealer sees as an AU-55 is AU-50 or AU52 to another, with a corresponding
difference in price. It is one reason for
nonuniform prices. It is not the only one.
Obviously the lower-priced specimens
are not always those to buy. Smart
numismatic buying calls for knowing when
to take bargains and when to bypass them.
Low price could result from something
directly concerning the coins. Or it may be
tied to matters having nothing to do with
the coin or coins. A dealer could be
oversupplied, or he may be offering coins
in which he does not normally deal and
wants to move them quickly. He may have
a cash flow imbalance and need to raise
funds, in which case he has probably
reduced most of his prices. He may be
pricing a coin low because he made a
fortunate purchase in which the coin cost
him very little. In all of these cases—and
examples of all can be found regularly in
the coin trade—the lower than normal
price is not a reflection upon the coin’s
quality or desirability. These coins, if
properly graded, are well worth buying.
They do save you some money and cause
no problems.
Personal circumstances of the dealer
are, to one degree or another, reflected in
the prices of most of his coins. A dealer
cannot very well charge $1,000 for a 1948
Lincoln cent just because he needs the
money. The traffic would not bear it. But
within reasonable bounds a dealer’s
pricing structure for his stock reflects his
circumstances. If the dealer has substantial
operating costs to meet, such as shop rent
and employee salaries, his overall pricing
structure will reflect this. Yet his prices
are not likely to be too much higher than
the average, as this class of dealer is
intent on quick turnover. Also, there is a
certain degree of competitiveness between
dealers, particularly those whose
advertisements run in the same
periodicals.
Unfortunately,
this
competitiveness can be carried to
extremes by some dealers, resulting in
“bargains” that are sometimes overgraded.
Condition has always played a major
role in coin prices. Even in the hobby’s
early, far less sophisticated days,
collectors would pay more for a bright,
shiny uncirculated coin than for the same
coin in worn condition. The undeniable
difference in value and desirability of
coins in different condition grades led
gradually to adoption of grading
standards. In a sense, grading standards
are comparable to the “scale of one to
ten.” Some circulated coins show more
wear than others, so it is not sufficient to
merely call a coin circulated. Even among
uncirculated coins, or UNCs, there can be
differences in condition and desirability.
While UNCs show no circulation wear,
the majority do have tiny hairlike or
lintlike scratches on both surfaces. You
will not see these on casual examination,
only if you look closely or, in some cases,
only if a magnifying lens is used. These
are the “average” UNCs. Uncirculated
coins having very few surface abrasions
are scarcer, and many buyers are willing
to pay extra for them. This increases their
market
value.
Occasionally
an
uncirculated coin has no surface
abrasions. It is then regarded as Mint State
Perfect, for which the designation on the
grading scale is MS-70. A correctly
graded specimen in MS-70 will sell
higher than any other grade of condition,
sometimes much higher.
COIN GRADING
The grading guidelines used for U.S.
coins (no grading guidelines exist for
foreign coins) are those adopted by the
American Numismatic Association and
are included in summarized format in this
book. Any U.S. coin can be graded by
these guidelines, from the very oldest
obsolete types to those in current
production. The principle behind the
grading guidelines is simple.
A coin’s design always has certain
vulnerable areas. Some parts of the design
are more highly raised than others. These
show wear the quickest. Likewise, some
of the engraved lines are shallower than
others and more quickly obliterated with
day-to-day handling. By carefully
examining a coin and checking these
vulnerable areas, one can determine if the
coin grades Circulated or Uncirculated. If
it grades Circulated, its vulnerable areas
will also establish its specific grade, by
the amount of wear they’ve absorbed.
Anyone can learn to grade coins, but the
process does call for patience, good
lighting, a magnifying lens, and
objectivity. Objectivity is essential. There
is always a natural tendency to believe
one’s coins are a shade better than they
really are. This is true even of a collector
who has no intention of selling and takes
no particular interest in resale potential. It
applies to a greater degree when the
person doing the grading has intentions of
selling.
Values, as you will see in this book,
often jump sharply from one grade to the
next higher grade. The difference in price
between an AU-55 and MS-60 specimen
is not 10% or 20%. It is more often 100%,
200%, or more, depending on the coin, its
scarcity, age, and other considerations.
Hundreds, or even thousands, of dollars
can be riding on the clarity of one tiny
portion of its design. Even when a coin is
not really rare or expensive, it will be
worth quite a bit more in the higher grades
of condition than in the lower.
While grading as practiced today is
very precise and scientific compared to
numismatics’ early years, it is not
foolproof. The human element still comes
into play to some degree. So do situations
not specifically accounted for in the
grading guidelines. The human element is
the great intangible. Two or three persons
of equal competency may grade a coin
identically. A dozen are not likely to.
Someone will believe, honestly and
without motive, that the coin is a grade
higher or lower than the others consider it.
The person who grades it differently is not
necessarily careless. He may, in fact, be
the most careful observer in the group. His
close attention has revealed something
overlooked by the rest.
Some coins invite variations in grading,
for any of various reasons. These include
Circulated and Uncirculated specimens as
well as coins that appear to fall directly
on the borderline between these
categories. What makes certain coins
more difficult to grade than others? First
we have the coins, usually very old ones,
that have not followed the normal patterns
of wear. For reasons not always
satisfactorily explained, the more
vulnerable portions of their designs show
less wear than other areas. By strict
adherence to the established ANA
standards they would grade in the higher
ranks of circulated condition. A truly
objective grader would hesitate to place
them here. He would drop them down a
bit, though just how far to drop is, in cases
of this nature, mostly a matter of opinion.
Then there are coins that can be
matched up easily with their proper
condition grade as far as wear is
concerned, but that have problems not
related to wear. The ANA guidelines
apply to circulation wear or its absence
only. There are no provisions under these
guidelines for grading coins with rim
nicks, bruises, discoloration, oxidization,
porosity, or any other defect not related to
circulation wear. Such coins, which are
encountered frequently, are treated in
different ways by different dealers. Many
will grade the coin for wear, then insert a
note calling attention to its defect. Some
will just grade the coin a little lower and
let it go at that.
SLIDER GRADING
According to the ANA grading
guidelines, a coin that does not fully meet
the requirements for a grading level must
be dropped down to the next lower
category. If a coin cannot squeeze by as an
AU-55 it has to be called AU-50, with the
corresponding inevitable difference in
retail value. As the guidelines are hardly
enforceable by law, however, they are
bent at will by anyone who wishes to do
so. One of the by-products is so-called
slider grading, which has become
widespread. The use of slider grading is
so commonplace today that some of its
critics of a few years ago are adopting it.
Coin dealers have an entirely logical
reason for doing so. Even if a certain
dealer is personally opposed to slider
grading, he is in effect placing himself at a
disadvantage by declining to utilize it. If
his fellow dealers are slider grading their
coins, his will seem inferior by
comparison. His MS-60 price will be the
same as another dealer charges for MS62. Many customers, looking simply at
price and the claim made for condition,
will order the MS-62. So slider grading is
done defensively just as much as
offensively.
A slider grade is any grade outside of
the accepted guidelines. It is an unofficial
grade that exists in the seller’s eye and
that he hopes will exist in the purchaser’s
when he examines the coin. It is unofficial
because there are no published guidelines
for it. Presumably an AU-52 coin is a
shade nicer than AU-50, but grading of
this sort is very subjective. A great deal of
personal opinion comes into play, and that
is directly contrary to the purpose of
grading standards. They were established
to remove personal opinion as much as
possible from coin grading. It is certainly
understandable that anyone, whether
dealer or collector, would be reluctant to
grade a coin AU-50 when it seems finer
than most specimens of that grade. Under
the present guidelines, however, there is
no alternative provision for such coins.
However one may feel about slider grade
coins, one thing is certain: If you pay a
premium for them, you take a risk. A
dealer who buys your coin collection at
some future time will not pay extra for
your sliders. He will pay no more than for
specimens in the next lower condition
ranking.
SPLIT GRADING
Also prevalent today, to make
intelligent coin buying even more
challenging, is split grading. Split grading
is seen in advertisements and coin
dealers’ catalogs as AU-50/55, MS-
65/60, and so on. The coin is given two
grades instead of one. The first stated
grade, which would be AU-50 in our
example of AU-50/55, refers to the front,
or obverse, of the coin while the second
refers to the back, or reverse. Under
normal circumstances, both sides of a coin
show the same degree of surface wear or
smoothing down of their designs. Nearly
all coins in Circulated condition have
received their wear from being handled
day after day, carried in pockets and
change purses, taken in and out of cash
drawers, and rubbed against other coins.
Whatever happens to one side of a coin
generally happens to the other as well, so
the wear on both sides will be equal in 99
out of 100 coins. Yet there is that
problematical 100th coin, which is
slightly—never more than slightly—better
preserved on one side than on the other.
If the coin is very old and quite rare, the
sort that would have appealed to
collectors of generations ago, its
unevenness of wear will be attributed to a
phenomenon
called cabinet friction.
Today most hobbyists store their coins in
albums or individual holders made of
paper or inert plastic. In the 1800s and
early 1900s it was quite the fashion to
keep coins in wooden cabinets with pullout trays or drawers. This is still done in
Europe by wealthy collectors. The coins
rested in little slots on beds of velvet,
sometimes merely on the bare wood (a
very bad practice!). Collectors almost
always kept all their coins face up, so for
decades and decades a coin might be
absorbing friction on one side, as the tray
was pulled in and out. The side facing up
did not rub against anything and absorbed
no friction. Consequently many such coins
showed greater deterioration on their
reverse side than on their face. Perhaps
t h e difference was not noticed by
hobbyists of that uncritical era. Today,
when every coin is meticulously
inspected, the effects of cabinet friction
become apparent. This is not to say that
cabinet friction is the only possible
explanation for unevenness in wear. There
could be other causes that would be
difficult to speculate upon without
knowing the actual history of the coin,
how it was handled and stored, and so
forth. Obviously, in the case of split grade
uncirculated coins, cabinet friction does
not come into play. These coins do not
show evidence of wear on either side.
They are true UNCs, but their grading is
split, such as MS-63/60, because one side
has fewer “bag marks” or fine hairline
scratches than the other. One may even,
occasionally, encounter a coin graded
Mint State Perfect on one side but not on
the other. This can appear in any of
various ways: MS-70/68, MS-67/70, MS70/69, etc.
There is no denying the fact that split
grading, confusing though it is, is a
legitimate grading practice when the coin
calls for it. The alternative to split grading
is to grade the coin into the lower
category; in other words, use the side
showing more deterioration as the grading
criteria. In doing this, an AU-55/50 coin
would become merely AU-50. This is
objected to by most sellers, including not
only dealers but also private parties
selling coins from their collection, on
grounds that the coin is better than a plain
or straight AU-50 and deserves to sell for
a premium or at least attract more
attention. Some individuals solve this
dilemma by use of the slider grading
discussed previously. They would call an
AU-50/55 coin AU-52 or AU-53 without
entering into further explanation. This,
however, is the least acceptable of the
potential methods of describing such
coins. Most collectors seem to agree that
coins with real condition variations from
one side to the other ought to be graded
into split grades. The key word here is
“real.” The middle 1980s witnessed an
undeniable misuse of split grading, on the
part of not only some professional coin
dealers but also collectors, investors,
auctioneers, even writers of numismatic
books and magazine articles. It has
become trendy to split grade a coin, as if
the use of split grading indicated extra
careful attention on the grader’s part.
Literally tens of thousands of older coins
that passed through the market with a
standard grade in the late 1970s
reappeared later as split graders. More
are sure to follow. The time may well be
coming when the majority of all 18th- and
19th-century U.S. coins carry a split
grade. Nor would it be terribly surprising,
considering the proliferation of split and
slider gradings, to see an onslaught of
finely split grades such as AU-50/51, MS62/63, and the like.
As with coin grading in general, split
grading can be helpful to both seller and
buyer in judging the desirability and cash
value of a coin. It can also be utilized to
confuse, mislead, and overcharge a
potential buyer, so once again it becomes
a matter of the care and integrity of the
person doing the grading. Several precise
conclusions can be drawn with regard to
split grading. The true split grade coin—
that is, the coin that truly merits such a
grading and would be so graded by most
astute persons—is not nearly as plentiful
as today’s market would lead one to
believe. Of true split graders, those in
Circulated condition will generally be in
better grade on the front or face.
As to quantities, here is a rough
summary:
18th-Century Uncirculated Coins.
Here the proportion of genuine “splitters”
runs rather high, as it includes coins that
are Uncirculated on one side but show
some slight wear on the other. These coins
were kept in cabinets for many years,
enduring the previously mentioned cabinet
friction. The percentage of true split
graders among UNCs of the 18th century
would run at least 20%. Some of them are
coins that were simply better struck on
one side than the other, which technically
should
not enter
into
grading
considerations—but it does. Many of
these coins have uneven toning from one
side to the other, which is another result of
cabinet storage for long periods of time.
One side was in continual contact with a
possibly acid or moisture-emitting
substance—such as wood—while the
other was not.
18th-Century Circulated Coins. The
proportion of true split graders found in
this category is lower than for 18thc e ntur y UNCs but higher than for
circulated coins of the 19th or 20th
centuries by quite a wide margin. The
total would probably be from 15 to 20%
of all specimens if we group together
copper, silver, and gold. It will always be
slightly higher on gold coins, as their
surface softness invited uneven wear.
They suffered the most and the quickest
from cabinet friction, with silver coins
coming next and copper suffering least of
all. Hence, in all the time periods there
will be somewhat fewer split grade
copper coins, or coins composed of other
so-called base metals. It is not just the
greater durability of these metals that
resisted uneven wear. Though that was a
factor, a more important one was
circumstances in the coin hobby. In the
earlier days of coin collecting in this
country, say up to about 1870, relatively
few of the advanced collectors were
taking an interest in copper or other base
metal coins, regardless of age or rarity.
They preferred the more prestigious gold
and silver. Copper coins such as the Large
cent were regarded as good material for a
starter collection or juvenile collection.
Thus, few copper coins went into cabinets
to absorb friction wear.
19th-Century Uncirculated Coins.
Among these you will find a moderate
number of true split graders in the rarer
and more popular types, such as Bust
dollars and the $10 gold pieces from the
earlier part of the century. They also occur
on the Double Eagles but not as
frequently. The percentage of split graders
with one side UNC and the other side
Circulated is rather substantial for the
groups just mentioned, though negligible
in such groups as the silver 3 cent, Large
cent, 10 cent, and most others. Even when
these smaller coins were stored in
cabinets, which was not as frequently,
their lighter weight worked in their favor
to reduce friction.
19th-Century Circulated Coins. A
considerably lower percentage of true
split graders is to be found among this
category than any of those previously
discussed. The overall figure, taking all
19th-century circulated coins into account,
would be under 10%. Yet among those in
the upper ranges of price there is no doubt
that the percentage would run somewhat
higher. The explanation is essentially the
same as given previously for uncirculated
coins of the same time period. Those of
the more common dates and types were
not as frequently placed in cabinets and
escaped cabinet friction. Most 19thcentury split grade circulated coins are the
rarer Bust dollars and Seated Liberty
dollars. True splitting is not as common
on Morgan dollars, but will be found
fairly extensively on $10 and $20 gold
pieces of the 19th century.
20th-Century Uncirculated Coins.
True split grading on these is confined
mostly to Morgan and Peace dollars and
to gold coins, and is the result of one side
ranking a little higher than MS-60 while
the opposite side is a plain or straight
MS-60. With 20th-century coins, cabinet
friction is not the cause of split grading,
even in circulated specimens, as the use of
cabinets by domestic collectors was on
the decline by 1900 and went totally out of
fashion a few years before World War I.
Split grading on 20th-century UNCs is
ascribable to bag marks being more
pronounced on one surface than the other.
With earlier split graders you will note a
pattern of the obverse (front or face of the
coin) normally being in a higher grade of
condition, due to cabinet storage. As split
grade coins of the 20th century resulted
from no such systematic procedure, but
rather pure chance, the better side is just
as likely to be the reverse.
20th-Century Circulated Coins. The
number of split grade specimens is
virtually nil, less than 1%. These coins
received their wear in day-to-day
circulation handling and tended to wear
evenly on both sides. The methods by
which 20th-century collectors have stored
their coins have not contributed to the
creation of split graders.
How should the smart collector deal
with split grade coins? Should he buy
them or avoid them? Should he be willing
to pay premium prices for them, over and
above the normal price for a specimen in
the lower of the two grades?
As a general rule, split grade coins
should be avoided unless you can place
reasonable confidence in the person doing
the grading. Many coin dealers are
judicious in their use of split grading and
apply such a designation only when it
seems absolutely called for. Others are
somewhat more frivolous with split
grading, as you will quickly note by
scanning the large display advertisements
in numismatic newspapers and magazines.
Checking these ads, including those
offering coins you have no intention of
buying, should be required for anyone
interested in learning about the coin
market. This can be most revealing. You
will find, for example, ads in which 1,000
coins are separately listed and priced, and
200–300 of them are presented as split
graders. That is simply too high a
percentage to occur in the normal course
of events, regardless of the type of coins
involved. Few numismatists could
objectively grade 1,000 coins and find
200–300 “splitters.” When you encounter
this sort of thing it is a fairly safe
assumption that the advertiser is partial to
split grading. He has a predisposition to it
and wants to find cause for split grading in
every coin he grades. In that he is not
successful, as the majority of coins offer
absolutely no basis for split grading. But
he does much better in finding split grade
coins than people who have no special
leaning toward them. Of course we are
talking about the coins he sells. When he
buys, he will more than likely be
extremely content to go with the lower
grade. Any coin that he can split grade, in
offering it for sale, becomes upgraded
(though only marginally) over the
condition in which it was acquired, with
the potential for a somewhat greater profit
margin. There is absolutely nothing wrong
with this if he finds true split graders
among the coins he has bought. All
dealers, including the most reliable, will
sometimes discover upon re-examining a
purchase that the coin belongs in a
different grade than they had originally
believed.
The
more
reputable
conscientious dealers will regrade a coin
down when that seems appropriate, so
they can hardly be censured for grading up
when that appears called for. The culprit
is the maniacal split grader who seems to
have an obsession with it. In any given
advertisement showing a large proportion
of the coins as split graders, there are apt
to be additional indications that the
advertiser is trying to pull his coins into
more desirable grades. (Please understand
that an advertiser is not necessarily a
dealer; some ads are placed by private
parties.) Ads with a preponderance of
split graders are also likely to be above
the normal in slider grades.
True split grade coins are a shade more
desirable than if both surfaces fell into the
lower of the two grades. If you have the
opportunity to buy one for no more than
the price of a straight specimen—say an
AU-55/50 for the price of an AU-50—
fine. You can hardly be making a mistake.
But when you pay any kind of premium for
a split grader, however slight, it is a
questionable investment. The person who
eventually buys it from you is likely to
say, “I don’t pay extra for split grades.”
PUTTING YOUR COIN BUYING
KNOWLEDGE TO WORK
General Suggestions (whether buying in
person at a coin shop or by other means):
1. Deal with someone in whom you can
have confidence. The fact that a dealer has
been in the business a long period of time
may not be an absolute guarantee of his
reliability, but it is definitely a point in his
favor. Is he a member of coin collector or
coin dealer organizations? You do not
have to ask about this to find out. If he
does hold membership in good standing in
any of the more prestigious organizations,
that fact will be prominently displayed in
his ads, in his sales literature, and on the
walls of his shop. The leading
organization for coin dealers is the PNG,
or Professional Numismatists’ Guild. Its
members are carefully screened and must,
after gaining admittance, comply with its
code of ethics. Complaints against PNG
members are investigated. Those that
cannot be easily resolved are brought
before an arbitration panel. You are on the
safest possible ground when dealing with
a PNG member. As the PNG is rather a
select group, however, your local dealer
may not be a member. This in itself should
not make him suspect. One of the
requirements of PNG membership is to
carry at least $100,000 retail value in
coins, and many dealers simply do not
maintain that large an inventory. Is your
dealer an American Numismatic
Association member? Local Chamber of
Commerce?
2. Don’t expect the impossible, either in
a dealer or his coins. The dealers are in
business to make a profit and they could
not do this by offering bargains on every
coin they sell. Treat the dealers fairly.
Look at things from their point of view.
For example, a long “layaway” on an
expensive coin may not be in the dealer’s
best interest. The dealers will go out of
their way for established customers, but,
even then, they cannot be expected to
place themselves at a disadvantage.
BUYING IN PERSON AT A COIN
SHOP
1. Plan your visits in advance. Don’t
shop in a rush or on the spur of the
moment. Give yourself time to look, think,
examine, and decide.
2. Before entering the shop have a clear
idea of the specific coins, or at least the
type of coins, you want to see. If more
than a few dates and mint marks are
involved, do not trust it all to memory.
Write a list.
3. Look at everything that interests you
before deciding to buy anything.
4. When shopping for rarities, bring
along your own magnifier. A small one
with attached flashlight is the most
serviceable. You may not be able to
conduct really indepth examinations in a
shop, but you’ll learn more with a
magnifier than without one. Don’t be
reticent about using it. The dealers will
not be insulted.
5. If the shop has more than one
specimen of the coin that interests you, ask
to see them all. Even if all are graded
identically and priced identically, you
may discover that one seems a shade nicer
than the rest.
6. If this is your first visit to the shop,
you will want to give some attention to
whether or not the shop inspires
confidence. An experienced collector
tends to get different vibrations from each
shop, to the point where he can form an
opinion almost immediately—sometimes
before entering. Some coin shops give the
distinct impression of being more
professional than others. And that
impression is usually correct! There are
various points on which this can be
judged. Do all coins, with the exception of
bullion items, have their prices marked on
the holder? Is the price accompanied by a
statement of condition grade? Are the
holders, and the style of notations on them,
fairly uniform from coin to coin? If the
coins are housed in various kinds of
holders, with notations that seem to have
been made by a dozen different people,
they are most likely remnants from the
stocks of other dealers or so-called “odd
lots.” Their condition grades should have
been verified and they should have been
transferred to uniform holders before
being placed on sale. Since the
shopkeeper failed to do this, he probably
knows very little about their actual
condition grades. He merely took the
previous owners’ word for it. Does the
shopkeeper impress you as a person with
intimate knowledge of coins? He need not
love coins, as his business is selling them
and not collecting them. But he should
appear to regard them a little higher than
“just merchandise.” He ought to be
appreciative of and perhaps even
enthusiastic over the finer aspects of a
rare coin. Under no circumstances should
he treat coins as if he cares nothing about
them, such as by handling them roughly or
sloppily or touching their surfaces with
his fingers.
7. Buying in person gives you an
opportunity to converse with the dealer,
and this can have its advantages. Upon
expressing interest in a coin you may
discover that the dealer offers a verbal
discount from the market price—even
without asking for one. If this does not
occur, you do, of course, have the right to
at least hint at the matter. Just a modest
savings can often turn a borderline item
into a sound purchase. Don’t get a
reputation for asking for a discount on
every coin you buy. Let the circumstances
guide you and be diplomatic. You are
always in a better position to receive a
discount when purchasing a number of
coins at the same time. Dealers like
volume buyers. Never say, “Will you take
$300 for this?” or anything that could be
construed as making the dealer an offer.
The dealers make offers when they buy
from the public and the right to make an
offer is something they like to reserve for
themselves. You can broach the subject in
a more subtle fashion. Instead of
mentioning what you would be willing to
give for the coins, ask if there is a savings
(“savings” is a much better word than
“discount”) on large purchases. If you pay
in cash, you have a better bargaining
position as you’re saving the dealer the
time required in collecting the funds. That
is the essence of reasonable discounts:
playing fair; not becoming a nuisance; and
being willing to accept a small
consideration even if just 5%. At least
with the small discounts you are, or
should be, getting good coins. If anyone is
willing to discount a coin by 50%, you
can be virtually certain it is a problem
item.
BUYING BY MAIL ORDER
There is no reason to shun mail orders.
Most coin dealing is done by mail. There
are at least a dozen mail-order coin
dealers for every one who operates a
shop. Your local shop may not specialize
in your type of coins, but in dealing by
mail you can reach any coin dealer in the
country and obtain virtually any coin you
may want.
Consider the following before doing
any mail-order buying:
1. Compare ads and prices, compare
descriptions, compare everything from
one ad to another running in the same
publication. Look for evidence of the
advertiser’s professional standing, such as
PNG membership. Read his terms of sale.
There should be an unqualified guarantee
of authenticity plus a guarantee of
satisfaction. If you are not satisfied with
your purchase for any reason, you should
have the option of returning it within a
specific time period. This time period
should be stated in the dealer’s terms of
sale. It will usually be ten days or two
weeks. It should likewise be clearly stated
that if you do choose to return the coins,
you can receive a full refund or credit as
you prefer (not as the dealer prefers). Full
refund means the sum paid for the coins,
with postage and registration fees
deducted. Few dealers will refund
postage charges. Consequently, when you
return a shipment you are paying the
postage both ways.
2. Send a small trial order if you
haven’t previously done business with the
advertiser. This will give you an
opportunity to judge his grading accuracy
and see just what sort of coins he
supplies. You will also discover how
prompt and attentive he is. The results of
this trial order should give a fairly good
idea of what you can expect from that
dealer when placing larger orders.
3. Do not Xerox an ad and circle
numbers. Write out your order, simply and
plainly. Mention the publication and issue
date. The dealer probably has different
ads running in different publications.
4. Give second choices only if this is
necessary to qualify for a discount.
Otherwise don’t. Most dealers will send
you your first choice if it’s still available.
Some will send the second choice, even if
they do still have your first choice. This is
called “stock balancing.” If they have two
remaining specimens of your first choice,
and twenty of your second choice, they
would much prefer sending you the second
choice. Only a relatively small proportion
of dealers will ignore your wishes in this
manner, but our suggestion still applies:
no second choices if you can avoid them.
To speed things up, make payment by
money order or credit card. A personal
check may delay shipment by as much as
three weeks.
5. Examine the coins as soon as
possible upon receiving them. If a return
is necessary, this must be done promptly
to be fair to the dealer. Most likely you
will not be permitted to remove a coin
from its protective holder to examine it.
The coins will be in clear mylar (an inert
plastic) holders known as “flips” or
“flipettes,” with a staple at the top. The
staple must be in place for a return to be
honored. While this may seem harsh, it is
necessary as a way for the dealer to
protect himself against unscrupulous
collectors who could switch coins on him.
These individuals could replace a highgrade coin with one of a lower grade from
their collection and return the lower-grade
specimen, asking for a refund.
In the unlikely event you receive a coin
in a holder that does not permit
satisfactory examination, the best course
is to simply return it. In making your
examination be fair to yourself and to the
dealer. Should you have the least doubt
about its authenticity, submit the coin to
the American Numismatic Association for
its opinion and inform the dealer of your
action. If the ANA finds the coin to be
fake or doctored, you can return it even if
the grace period for returns has expired.
Under these circumstances many dealers
will reimburse you for the ANA’s
expertizing cost. Chances are, however,
that you will never receive a suspect coin.
6. Do not file a complaint against the
dealer unless he is clearly in violation of
his printed “terms of sale.” When it is
absolutely necessary to do so, a report of
the transaction may be forwarded to the
organizations in which he maintains
membership, as well as the publications in
which he advertises. But even if you place
hundreds of mail orders, it is unlikely that
the need will ever arise to register a
formal complaint against a dealer.
BUYING AT AUCTION SALES
The volume of collector coins sold at
auction is enormous. Auction buying is
preferred by many collectors, as the
opportunity exists to buy coins at
somewhat less than their book values.
Not everything sold by auction is a
bargain, however, and the auction house’s
“terms of sale” allow you far less latitude
in making returns. Still, auction buying in
the present day entails considerably less
risk than it traditionally did. A generation
ago, or even more recently, everything
sold at auction was strictly “as is.”
Nothing could be returned for any reason
whatsoever, even if grossly misdescribed
or counterfeit. Today, almost all coin
auctioneers will take back a fake or
doctored coin, and some will take returns
of those that have been incorrectly graded
or otherwise misdescribed. This varies
somewhat from one auction firm to
another.
There are two types of auction sales:
mail sales, in which all bidding is
conducted by mail or phone, and so-called
“floor” sales, which have in-person
bidding. Even at floor sales, however, one
is permitted to make an absentee bid if he
cannot personally attend. When an
absentee bid is successful, the bidder is
notified by mail.
You have just as good a chance of being
successful with an absentee bid as if you
were present. The reputable auction
houses will not bill you for the full amount
of your bid if there was weak bidding on
the coin. If you placed a bid of $500 and
no one else offered more than $200, you
would be billed only for an amount
sufficient to beat the $200 bid. This would
in most cases be $225. At some auctions,
though, an automatic “buyer’s premium”
or surcharge in the amount of 10% is
added to the price. In the example just
given you would be paying a total of
$247.50 plus charges for shipping. Sales
at which bids are accepted exclusively by
mail and phone do not, as a rule, utilize
the buyer’s premium. Check the terms of
sale to be sure, as this obviously makes a
difference in the amounts you should bid.
Whether the auction is a mail or floor
sale, there will be a printed list of its
contents available for those who may be
interested in bidding. This list is
circulated well in advance of the sale date
to give everyone ample time to study it
and plan their bidding. The list may
appear as a full-page or multipage
advertisement in one of the numismatic
magazines or newspapers. It may be
issued in the form of a handsome catalog
with photos, sent to clients on the
auctioneer’s mailing list (and available to
nonclients at a small charge). In any event,
it will be accompanied by a set of
regulations for those participating in the
sale, and a bidsheet on which prospective
buyers can enter their bids. The bidsheet
will mention the sale’s closing date. Bids
received after the closing date, or after the
start of vocal bidding in a floor sale, are
ineligible.
Here is some advice for auction buying:
1. Find an auctioneer who specializes
in your kind of coins and order a
subscription to his catalogs. Regardless of
the type of coins you collect, there are
some auctioneers who handle them more
regularly than others and these are the
catalogs you should be receiving.
Subscribing brings you the catalogs as
early as possible and you also receive the
list of “prices realized” following each
sale. This in itself is extremely useful. It
shows the prices actually paid for each
coin, and it shows you the coins that failed
to draw any bids or were removed from
the sale for other reasons. You can utilize
this information when placing bids in
future sales conducted by the same auction
house.
2. Read the entire catalog or list before
filling out your bidsheet. Make a
photocopy of the blank bidsheet in case
you decide to make changes in your bids.
3. Determine whether the prices shown
in the catalog are book values, estimated
selling prices, or “minimum bids.” In
some sales you will encounter a mixture
of all three, which can become confusing.
Sometimes no prices at all will be shown.
When estimated selling prices (sometimes
called “estimated retail value”) are used,
you are usually safe in assuming that the
majority will sell slightly below those
figures. Some will sell for more and
others for a good deal less, but most are
likely to go for about 10% under the
estimates. Once the buyer’s premium is
added, assuming one is used, they hit right
around the auctioneer’s estimate. This
pattern maintains because a large number
of bidders at any given auction will bid
predictably by the percentage method.
When the auctioneer states $100 as an
estimated selling price or estimated retail
value, they will bid $90. If the auctioneer
states $200, many will bid $175 or some
figure in that general neighborhood. This
gives them the feeling of obtaining a
bargain, though of course it hardly remains
a bargain when the buyer’s 10% surcharge
is added. Such a bid is high enough in
most instances to stand a very good
chance of success. Those who bid 50% or
60% of the estimates are not really intent
on being successful. They would rather
lose a coin than pay anything near the
normal retail price for it. Occasionally a
few of their bids will come through if the
sale turns out disappointingly. There will
also be some bidders at every sale who
bid above the estimate as a way of
annihilating the competition. Needless to
say, this can be an expensive way of
acquiring coins.
If minimum bids are used, no bid lower
than the sum stated will be entertained. In
any sale in which all the lots are provided
with minimum bids, a large number will
sell right at the minimum or just
fractionally above it, such as $55 for a lot
carrying a $50 minimum bid. Minimum
bid requirements tend to have a negative
psychological influence on many bidders.
They feel that if the stated price is
satisfactory to the auctioneer and the
coin’s owner, the coin cannot be worth
very much more. In actual fact, many lots
with minimum bids are worth
considerably more than the sums
indicated, and you can sometimes get
excellent buys at a “minimum bids” sale.
It all depends on the specific nature of the
sale and who is running it.
4. The auctioneers frequently stress
advantages in bidding early, assuming you
are placing an absentee bid. There is, in
fact, more logic in bidding late, as long as
you can be sure of making the deadline.
An early bid is likely to be disclosed to
other prospective bidders, who thereby
have the opportunity to exceed it. A late
bid may give competitors no time to react.
5. If you’re interested in bidding on a
coin that is not pictured in the catalog, ask
the auction house for a photo of it. In most
cases they will supply a photo if your
request arrives early. There may be a
token charge for the photo, but if you can
get a photo, it’s far preferable to bidding
on a coin you have not seen. If you live
close enough to the auction house, make a
personal visit to examine any coins in the
sale. In nearly all sales the coins will be
available for inspection as soon as the
catalog is circulated.
6. While the “terms of sale” will not
vary too drastically from one auction
house to the next, it is still advisable to
read them thoroughly. If the words “all
coins guaranteed genuine and may be
returned for full refund if proven
otherwise” are not included, this is not a
sale in which you should be participating.
In some mail sales—never in floor sales
—you will find this statement: “no bids
reduced.” This means you pay the full
amount of your bid if you win the coin,
even if the next highest bid is considerably
less. If you bid the fair market value or
somewhat below, you can safely place
bids in such a sale.
7. If the buyer’s premium of 10% is
being used, automatically reduce all your
bids by 10%, but always bid in round
numbers. A bid of $61 or $33.25 will not
be accepted.
8. When bidding in person, always have
your catalog open to the page showing the
coin being sold at the moment. It is very
easy to confuse one lot number with
another and place a bid on the wrong coin.
Once your bid has been acknowledged by
the auctioneer, do not leave your hand up,
as in the excitement this may be
misinterpreted as a further bid—and you
will be bidding against yourself. Always
listen carefully to see if you have the high
bid. Do not be led by the competitive
spirit of a floor sale to bid higher than you
had intended. Show no emotion
whatsoever during bidding or at the
conclusion of bidding. One of the basic
strategies of auction bidding is to draw no
attention to yourself.
The previous advice should help to
better explain coin buying in its various
phases. Space limitations have prevented
us from covering some of the more
specialized aspects of buying, and we
have purposely refrained from mentioning
things that should be apparent to everyone.
SELLING COINS TO A DEALER
All coin dealers buy from the public.
They must replenish their stock, and the
public is a much more economical source
of supply than buying from other dealers.
Damaged, very worn, or common coins
are worthless to a dealer. So, too, usually,
are sets in which the “key” coins are
missing. If you have a large collection or
several valuable coins to sell, it might be
wise to check the pages of coin
publications for addresses of dealers
handling major properties, rather than
selling to a local shop.
Visit a coin show or convention. There
you will find many dealers at one time and
you will experience the thrill of an active
trading market in coins. You will find
schedules of conventions and meetings of
regional coin clubs listed in various
numismatic publications.
To find your local coin dealer, check
the “Yellow Pages” under “ Coin
Dealers.”
Coin
collecting
offers
infinite
possibilities as an enjoyable hobby or
profitable investment. It need not be
complex or problem-laden. But anyone
who buys and sells coins—even for the
most modest sums—owes it to himself to
learn how to buy and sell wisely.
PUBLICATIONS
Coin World (weekly)
Amos Press
PO Box 150
Sidney, OH 45365-0150
1-800-253-4555
COINage Magazine (monthly)
4880 Market Street
Ventura, CA 93003
805-644-3824
COINS Magazine (monthly), Numismatic
News (weekly), and Coin Prices (bimonthly)
Krause Publications
700 East State Street
Iola, WI 54945-0001
Subscriber Services—1-800-258-0929;
Krause Pub. website—
http.//www.krause.com; Numismatic
News e-mail—
[email protected]
First Strike (quarterly), and
Numismatist (monthly)
ANA
818 North Cascade Avenue
Colorado Springs, CO 80903-3729
719-632-2646; Fax 719-634-4085
the
ERRORS AND VARIETIES
Freaks, FIDOs, and Oddities: If you
were once active in the hobby this is what
you once referred to mint errors and
varieties as. If you are new to the hobby
these are terms you are likely to think of
when referring to perhaps the most
fascinating and exciting segment of the
hobby. No matter what the case, these
terms are inaccurate but they do paint a
rather accurate picture of what you are
likely to encounter when exploring this
arena of the hobby. Actually they are
known as Mint Errors and Die Varieties
and there is no doubt throughout the hobby
they remain the fastest growing segment of
the hobby and now enjoy the largest value
increases as well.
It is our belief that most readers of this
section will be either novices or
experienced collectors who desire to
know more about this subject, so this
chapter is being written in laymen’s terms.
Errors and varieties are, by far, the most
complicated area of numismatics. Do not
be discouraged. The learning curve is
large and once you grasp the basic
definitions of error and variety coinage
causes and effects you will be well armed
to begin your own search. We will even
include a basic value table for most of the
error types discussed, and many of the
most popular varieties are listed
throughout the book.
It is best to divide error and variety
coinage into three primary categories:
planchet errors; die errors (or die
varieties); and striking errors. This is
known as the P-D-S System and was
created by Alan Herbert of Krause
Publications, the first secretary of the
Combined Organizations of Numismatic
Error Collectors of America (CONECA),
the only numismatic specialty club
devoted exclusively to the study of error
and variety coinage.
PLANCHET ERRORS
As the name suggests, planchet errors
occur on or in a blank or a planchet. Until
a planchet is struck, it is not a coin!
Planchet errors occur before a coin is
struck but can account for some very oddlooking struck coins.
Blank—Also known as a type I
planchet. A blank is a round disk of metal
punched from a long strip rolled for the
proper thickness of an intended
denomination. It will have a rough edge
that appears to be sheared on the entire
edge because it is! (Note: All coins have
three sides: the obverse, the reverse and
the edge.) Blanks are not intended to be
struck, though they sometimes are.
Planchet—Also known as a type II
planchet. These are blanks that have gone
through an upset mill that eliminates the
rough edge and creates a raised rim to
allow for a better design transfer from the
die to the planchet and to protect the
design from wear. It also makes coins
easier to stack.
Improper Alloy Mix —An improper
alloy mix is as the name suggests and
appears as streaks on coins, such as
yellow streaks on copper cents or entire
coins of the wrong color. It can also
appear as laminations (or flakes and peels
on a coin’s surface).
Partial Plated and Unplated—
Beginning in 1982, the Lincoln cent
composition was changed to a planchet
primarily composed of zinc, with a copper
plate. Planchets dated 1982 to date with
only part of the copper plating are partial
plated. Consequently, if no plating is
present, they are “unplated.”
Defective Planchet—Most often
resembles a ragged clip planchet (see
Incomplete Planchets) and sometimes
appears as a broken or split planchet. This
is caused by an improper alloy mix or
bubbles and/or foreign materials trapped
in the metal.
Lamination—Appears as flakes or
peels on a coin’s surface and is due to an
improper alloy mix or debris and/or air
trapped in the metal. This is very common
on Wartime nickels and Wheat cents.
Split or Broken Planchet—Can be
viewed as an advanced lamination. Split
planchets are planchets split or broken
through the center as in a clamshell or
creme cookie, and broken planchets are
those split in two pieces like a “lovers’
heart” pendant. Broken planchets are
ready to break before being struck but
usually break after they are struck. More
complete explanations of split planchets
follow.
Split Planchet Before Strike —In this
case a planchet split in two before being
struck, as the term would suggest. They
are usually of normal diameter but are
very thin. They are struck on both the
obverse and reverse but much of the
design is usually light with multitudes of
striation lines visible on both sides.
Split Planchet After Strike —In this
case a planchet was ready to split before
it was struck but waited until after it was
struck before splitting in two. These are
usually of normal diameter; one side,
however, will be fully struck showing no
striations while the other side will have
only a ghost of some design and be
heavily striated. These are usually not as
valuable as the split panchet before strike
unless both pieces remain together as a
set.
Split Planchet, Hinged—A normally
struck coin that is ready to split but is still
together on a small portion of the coin.
These resemble open clamshells and are
often affectionately referred to as
“clamshell splits” or simply “clamshells.”
Incomplete
Planchets—More
commonly referred to as “clipped
planchets.” There are several types of
incomplete planchets and so, for
simplicity’s sake, they follow as
independent definitions and will be
referred to as “clips.”
Rim Clip—Just a tiny portion of the
planchet missing on the rim. May be
straight or curved but is usually
indistinguishable as to which.
Curved Clip—Larger than a simple rim
clip, usually with 2% or more of the
planchet missing from the rim inward
forming an inward curve.
Straight Clip—Larger than a simple
rim clip, usually with 2% or more of the
planchet missing from the rim inward
forming a straight or very straight outward
bowed edge on the affected area.
Ragged Clip—A portion of the
planchet from the rim inward missing,
usually in a fairly straight line but having a
very jagged edge on the affected area. If
the line is very irregular in shape and
comes significantly into the planchet it is
known as a defective planchet rather than
a ragged clip.
Crescent Clip—More than 50% (by
weight) of the planchet missing from the
rim inward forming a large crescentshaped curve, much like the image found
on old outhouse doors!
Incomplete Clip—This is somewhat
more difficult to describe and more rare
than any of the above clips. An incomplete
clip is found on otherwise normal
appearing coins forming long, rim-to-rim,
incused curves in the same location on
both the obverse and reverse of a planchet
or coin. This is caused by an incomplete
punch overlapping another punch from the
metal strip when punching blanks.
Elliptical Clip—A planchet or coin that
appears oval in shape, much like a
football. This is another rare type of clip
and is created much like an incomplete
clip except the overlapping punch was
complete. A crescent clip and an elliptical
clip are often formed at the same time
when an incomplete clip finally breaks
apart and both pieces are struck. If you
have an incomplete clipped coin that
appears ready to break apart do not break
it apart thinking you will create an
elliptical and a crescent clip. These
pieces must separate before they are
struck to qualify! If you do break apart an
incomplete clip you have just damaged
your valuable error coin, thereby
diminishing its value significantly!
Disk Clip—This is a rim clip that
usually goes undetected and, though they
are minute as far as clips go, they are very
scarce. For the most part they can only be
positively identified on copper nickel clad
coinage. For identification one must
examine the edge of the coin where a step
o r dip will appear in the copper core.
Look at all your copper nickel clad proof
coins to try to find one of these; proof
planchet and striking errors are rare as a
general rule, and this may be your best
opportunity to find a genuine, premium
touting error on a proof coin.
Assay Clip—Probably the most rare
clip of them all. This is a clip that usually
appears as if somebody cut a piece out of
the coin. In effect that is what happened—
it happened however, to a planchet before
the coin was struck.
Corner Clip—Nearly as rare as assay
clips, corner clips are literally the corner
of a metal strip! It is only possible,
therefore, to have four corner clips from a
metal strip from which blanks are
punched. Obviously few of these ever
happen!
Incomplete Cladding—A copper
nickel coin that for one reason or another
was struck while missing some of the
outer clad layer on either the obverse or
reverse or both. These appear as having
large copper areas on the surface(s).
These should not be confused with
sintered planchets (see next).
Sintered Planchets—Before planchets
are struck they are given a bath. This bath
takes place in a giant vat where thousands,
even millions, of other planchets preceded
them. In effect, a sintered planchet is a
planchet that took a bath in dirty bath
water! If a vat has typically been used to
clean copper planchets, then a load of
white metal coins is dumped in the same
solution, the result is often one of the
copper adhering to the surface of the white
metal, much like electroplating. Genuine
sintered planchets, though very scarce,
command little premium as the effect is
easily duplicated outside the mint and few
people are able to authenticate them. A
good example would be a Jefferson
nickel, normal in all respects except that it
looks like it was struck on a copper
planchet.
Wrong Stock—A coin, usually copper
nickel clad, that was struck on a planchet
of normal diameter that was punched from
metal strip rolled to the thickness intended
for another denomination. These will
appear normal in most respects but will
either weigh too light or too heavy. The
classic example of this is the 1970-D
Washington quarter, which was struck on
dime stock, or planchets that were
punched from metal strip that was rolled
to the intended thickness of the Roosevelt
dime.
Wrong Metal—A coin struck on a
planchet created for another denomination
or foreign planchet. These will almost
never be perfectly round and are most
desirable when the planchet used is of a
different color than the intended planchet.
For example, a Jefferson nickel struck on
a cent planchet.
These are among the most popular of all
error types and command sharp premiums.
Throughout the years the U.S. Mint has
contracted to strike coins for many foreign
nations, and sometimes these foreign
planchets get stuck in the “tote bins” used
to transport planchets to the coining
presses. The same thing happens with the
wrong denominations for U.S. coins. On
U.S. coins this can occur only on
planchets that are smaller than the
denomination being struck. For example: a
nickel on a cent planchet, a cent on a dime
planchet, a nickel on a quarter planchet, or
a quarter on a dime planchet. These can
also be classified as striking errors.
Fragments—A coin struck on an
irregular-shaped piece (usually just a
scrap) of metal. These pieces must be die
struck on both sides. If struck on one side
only they are simply laminations that
peeled out of the surface of a coin.
Fragments are quite rare and are usually
found when turning a mint bag inside out
and checking the bottom seam!
Bowtie —Actually a form of fragment
but included because of its high premium
and desirability. A bowtie is simply a
piece of already punched metal strip (once
punched it becomes known as webbing)
that happens to find its way into the
coining presses. They are roughly bowtie
shaped, hence the name.
Thick or Thin Planchets—A coin or
planchet that is unusually thick or thin.
This is caused by the rolling machine that
rolls each metal strip to its proper
thickness. It is not enough that a coin looks
thick or thin, it must weigh more or less
than the Mint’s tolerable weight.
STRIKING ERRORS
As the class designation suggests,
striking errors occur during the actual
minting (or striking) of a coin. Overall this
group presents the most spectacular
errors.
Die Trial Strikes —Also known as die
adjustment strikes and low pressure
strikes. This may be a misnomer as there
are several ways this could occur, the
least common cause being that which the
name implies. They can occur when a
press is coming to a halt with a planchet
seated between the dies, when adjusting
the pressure of a strike to allow for proper
design relief, when setting vertical and
horizontal alignment, and, most often,
when a planchet is intentionally left
between dies to prevent clashing of the
dies while maintenance, routine or
otherwise, is being performed on the
press. These can be identified as having
very weak to no reeding, and very light to
almost no design elements, with the
strongest toward the center of the coin. As
is the case with all errors and varieties,
authentication by a specialist is highly
recommended.
Strike Through—This occurs when
any foreign substance gets struck into the
surface of a coin. Debris composed of tiny
metal shavings and thick grease or wax is
the usual culprit but it could be anything
from a piece of string to a piece of cloth
or even a staple! Just recently it was
realized that not all, but most, of the coins
sold as having been struck through cloth
are actually struck through duct tape! One
only has to look at mint equipment to
realize the enormous quantity of duct tape
used and compare many of these struck
through errors to realize the unique
“weave” pattern as that belonging to duct
tape!
Broadstrike —A broadstrike is a coin
that was struck without the retaining collar
in place. The collar is actually the third
die and it is what forms reeding on reeded
edge coins. Broadstrikes are always
larger in diameter than the coin was
intended to be—sometimes just barely and
sometimes much larger. The larger it is the
more desirable. They are sometimes
nearly round but they are usually slightly
out of round. There are two types of
broadstrikes: centered and uncentered.
The centered broadstrikes are struck
nearly perfectly in the center and, of
course, the off-center broadstrikes are not
centered. As long as all the design
elements remain on the coin it is a
broadstrike. If design elements (including
the denticles) around the edge are missing,
it is then considered an off-center strike.
Off-Center Strikes—As the name
implies, these are coins that were struck
off center and, naturally, out of collar.
These are not to be confused with
misaligned die strikes, which are covered
under die errors. Some of the obverse and
reverse design elements (including
denticles when included as part of the
design) must be missing. This usually
occurs when a planchet does not rest in its
proper position inside the press. The most
desirable off-center strikes are those that
are approximately 40–80% (measured by
observing the unstruck portion of the
planchet) off center and include a full
date. Off-center strikes on obsolete series
are very much in demand as well.
Double and Multiple Struck—A coin
that is struck more than once. Because
there are several types, for simplicity’s
sake they are listed individually below.
“Double”
and
“multiple”
are
interchangeable on all, with multiple
meaning anything more than two strikes.
Also note that the most desirable of any of
the following are the double or multiple
strikes that exhibit more than one date. It
may be the same year, but if it is there
more than once it is more desirable.
Double Struck in Collar—A coin that
was not ejected after having been struck
or an already struck coin that found its
way back into the coin press and was
struck again. To positively identify this
rare error type some rotation between
strikes must take place.
Double Struck out of Collar—Usually
a coin that was struck once normally, in
collar, but did not eject properly,
receiving a second strike off center. Both
strikes can be off center as well.
Flip-over Double and Multiple
Struck—All of the above rules apply
with one exception; one of the strikes must
have occurred after the coin flipped over
in the coining press. This type of double
strike exhibits an obverse and a reverse
strike on both sides and is much more
scarce than typical double and multiple
strike coins. Also, a flip-over can occur in
or out of collar.
Wrong Metal—Debatable as to
whether this falls in this category or that
of a planchet error. See the definition
under “Planchet Errors.”
Double
Denomination—
Unquestionably (as of the time of this
writing) the most desirable of all error
types. This, too, is debatable as to what
heading it should fall under—planchet or
striking error—but since it involves a
previously
struck
and
different
denomination than that intended it is
placed here. A double denomination is a
coin that was struck with two different
denomination dies! Of course that also
means it is double struck. Examples are
cents struck on already struck dimes,
nickels struck on already struck cents, and
Eisenhower dollars struck on already
struck Kennedy halves! The same rule of
planchet and die sizes for wrong metal
strikes applies to double denominations.
They are affectionately referred to as 6cent, 11-cent, etc., pieces.
Indent—An indent is a depression in
the surface of a struck coin caused by an
overlapping planchet present during the
strike. This depression is usually
adjoining the rim and will have no design
elements present in the depression. The
coin will usually be almost perfectly
round except at the outermost edges of the
indent. A full indent is caused when one
planchet is lying squarely on top of
another at the time of the strike. In rare
cases, coins may be fully indented with a
planchet of smaller size intended for
another denomination.
Brockage —Very similar to an indent
with the difference being the coin was
indented by an already struck coin as
opposed to a planchet. As with the indent,
brockages may be full or partial but the
indent exhibits incused mirror images of
the coin that caused the brockage. The
larger the affected area the more desirable
the brockage. Additionally, each
subsequent strike spreads and weakens the
brockage. Early strike brockages that
show nearly perfect mirror images are by
far the most desirable.
Counterbrockage —Simply put, this is
a brockage created by an already
brockaged coin.
Die Cap—A coin stuck to a hammer
die (the die that moves the most and is not
below the collar) that has received
several strikes and is spreading enough to
creep up the sides of the hammer die. This
often resembles a bottle cap (and is
sometimes referred to as such) or a
thimble. The image of a normally struck
coin appears on the inside bottom while
usually nothing appears on the outside
bottom.
Capped Die Strike —This is actually a
late-stage brockage but in order for it to
be a late-stage brockage a capped die is
created on the hammer die. In other
words, this is yet another type of strike
through error.
Clad Layer Errors—Like many other
errors described in this chapter, clad layer
errors have different causes and effects.
Copper nickel planchets and coins that are
missing one or both of the outer layers due
to improper bonding to the copper core
are clad layer errors. Again, for
simplicity’s sake, we will individually
define the different types you may
encounter. Also, again, it is debatable as
to which classification these actually
belong—striking or planchet.
Missing Clad Layer, Split Before
Strike —These are coins that appear thin
and are primarily nickel on one side and
copper on the other, but exhibit an
otherwise normal strike, though it may be
a little weak.
Missing Clad Layer, After Strike —
Coins that appear to be thin and primarily
nickel on one side and copper on the
other. The nickel side will appear normal.
The copper side will have many striations
and little to no design detail.
Missing Clad Layer (the nickel layer
itself)—These, too, can be struck before
or after they split from the planchet. One
that was struck before splitting will
appear to be all nickel and will be normal
on one side and striated with little detail
on the other. Those struck after they split
will be almost paper thin and weakly
struck on both sides. These nickel layers
struck on both sides are very rare as they
are so delicate they rarely survive.
Edge Strike —A very rare and
desirable striking error created when a
planchet is standing rather than lying
between the dies and is quickly ejected by
the pressure of the strike before it can get
folded. These coins display small struck
areas on the edge directly opposite of one
another and are usually slightly bent.
Fold-over Strike —Rare, though not as
rare as a true edge strike, but probably
more desirable. Created when a planchet
is standing rather than lying between dies
while being struck. However, unlike an
edge strike, they did not get ejected
immediately and were subsequently
folded over and struck. They are usually
struck slightly off center with the fold
itself being off center and very much
resembling a piece of bread folded over
for a sandwich. Additionally, in recent
years, many of the more exotic items,
which have been known to not be possible
without help, have been minted. These
items are still under investigation and one
would be wise to exercise caution in
purchasing these items as well.
Saddle Strike —This is basically a
double-struck off-center coin with the
following exception—it can only be
produced in a dual or quad press, that is, a
press with two or four die pairs and a
single collar device with two or four
holes corresponding to the die pairs.
Differing from typical off-center double
strikes, these are buckled in the middle
and resemble an equestrian (horse)
saddle, hence the name.
Partial Collar Strike —These occur
when the anvil or bottom die fails to rise
fully above the planchet, restricting
outward metal flow. For that area of the
coin above the collar the diameter will
increase, giving the edge a flanged or
“lipped” appearance. These may be full or
tilted with the full partial collars bringing
a slightly higher premium.
Caution—Caution—Caution
Most of these planchet and striking
errors are regularly fabricated either for
the fun of it or intentionally to swindle
innocent victims out of their hard-earned
money. Some of them are quite good.
Authentication should be considered
mandatory on all of the more expensive
and exotic error types!
DIE ERRORS
Die errors were not placed between the
planchet and striking errors because they
are really very different in that all
planchet and striking errors are unique
while die errors are recurring. From the
moment the event causing the variety
occurs each subsequent strike will show
the same error until it is effaced in some
way or the die is retired. In other words,
this section could just as easily have been
titled Die Varieties because that is what
this section is all about. In the last several
years die varieties have exploded in
popularity, and most collectors now
collect varieties of some kind, be they
doubled dies, repunched or over mint
marks, or misplaced dates. Many collect
all of them. With communications what
they are today it has become much easier
to locate all the pieces needed for
completing a date and mint set of your
favorite series, and in order to continue
collecting in one’s favorite series one
naturally begins collecting by variety.
With the explosion of information on die
varieties collectors should be kept happy
in their own series for many years!
Besides, looking for die varieties, even in
your pocket change, is, well, downright
fun!
Before engaging in any dialogue
regarding value, let us cover the basic
definitions of the terms you are most likely
to encounter when collecting die errors.
Following you will find two sets of
definitions. The first set is associated with
true die errors and it is considered
debatable as to what classification—
striking or die—its entries belong. The
second set of definitions is labeled Die
Varieties and comprises those terms that
specialists normally think of and refer to
when
discussing,
writing
about,
researching, or lecturing on die varieties.
Although both sets belong under the
heading of Die Errors, we are separating
the two because the entries in the first set,
though they are recurring, tend to “grow”
or get bigger or longer, whichever the
case may be, with continued strikes.
True Die Errors
Major Die Break (or “CUD”)—This
is exactly what it sounds like—a major
break in the die. Not all dies are perfect
and many do break with the repeated
pressure applied during the striking
process. When the most blatant major die
breaks are encountered they resemble a
cow’s “cud,” hence the most frequently
encountered term for this highly
collectible and prized error type. In order
for a die break to qualify as a major die
break the break must show definite
separation taking place on the die. This
may show as a piece of the die missing, in
which case there will be a raised blank
spot on the surface of the coin usually
exhibiting weak design details in the same
area on the opposite (opposite meaning
obverse or reverse) side of the coin. It
may also show as a portion of the coin
being separated from the rest by a heavy
line (die crack), with this separated
portion being raised above the rest of the
coin. This is known as a retained major
die break or retained CUD. In almost all
instances this major die break, full or
retained, adjoins the rim and comes into
the fields and design elements on the coin.
Split Die Strike —Actually another
form of major die break but different
because, rather than displaying a long
curved break, it mostly splits the surface
of the coin in two with a heavy, solid line
down the middle of the surface. This is not
to be confused with a rim-to-rim die
crack, which is a very thin line with no
rise in either half’s surface. Split die
strikes are quite rare and highly prized.
Die Crack—A thin raised line on the
surface of a coin that is the result of the
die beginning to break. With repeated
strikes die cracks can and do eventually
turn into major die breaks. However, die
cracks are very common and usually
command little or no premium. They are
most often used as die markers to assist in
identifying other known varieties.
Die Chip—Literally a chip out of a die
or a tiny piece of a die broken out. They
show as a small, raised area on the
surface of a coin and this area usually has
somewhat ragged looking boundaries. Die
chips, much like die cracks, are often used
as die markers in identifying other die
varieties on the same coin. There are,
however, several subclasses of die chips
which are widely collected, though they
do not command much of a premium. The
perfect example would be “BIE” errors,
which are nothing more than die chips
located somewhere between the letters of
“Liberty” on a Lincoln cent.
Die Gouge —This is actually damage to
the die but shows on each struck coin after
the damage occurred. It may be a sharp,
angular, raised area on the surface of the
coin. Depending on size and severity these
can command a modest premium but,
again, are usually used to identify other
die varieties.
Clashed Dies or Die Clash—This is
the result of two dies coming together
without a planchet between them. This
transfers a partial impression from die to
die. In other words, part of the reverse die
images now show on the obverse and vice
versa. The infamous “Prisoner cents” are
a classic example of clashed dies.
Prisoner cents are Lincoln Memorial cents
that have the columns of the Memorial
clashed both in front of Lincoln’s face and
behind his head, giving the impression of
“prison bars.” As a general rule clashed
dies do not carry much of a premium.
There are exceptions, however. The
“Prisoner cents” carry a small premium
and strong die clashes showing significant
design transfers also carry a small
premium. When the date also transfers,
leaving a date on both the obverse and the
reverse, they carry an even higher
premium. Strong clashes on proof coins of
the 20th century command a substantial
premium.
Broken Collar Die Break—Also
known as a collar break or collar cud.
Keep in mind that the collar is actually the
third die used in the modern minting
process; therefore, it can break and exhibit
similar properties to that of major die
breaks on obverse and reverse dies. Of
course there usually are no design
elements involved (at least not on U.S.
coins of the 20th century). These appear
as normal coins except they will be out of
round only on the affected area of the
edge, which shows as a lump of extra
metal on the edge. These are quite scarce
and command a decent premium.
Rotated Die —This is the result of
improperly installed dies or loose,
moving dies. On U.S. coins the die
alignment should be such that when you
flip a coin vertically the design is
supposed to be in the upright position. If it
is not, then one or both of the dies is
rotated from its normal position in the
coining press. Rotated dies are quite
common on pre–20th-century U.S. coinage
so they command little or no premium.
Rotation is measured in degrees either
clockwise or counterclockwise, and
rotation of less than 15 degrees on 20thcentury coinage is still common.
However, there are some reported
examples with significant rotation, such as
the 1988-P Kennedy half dollar with 180degree rotated dies, which are worth a
decent and sometimes hefty premium.
Die Polish Errors—This is a very
common type of die error encountered on
virtually all denominations and design
types. Sometimes it is necessary for the
Mint to remove a die to “stone” (polish)
off added undesirable elements such as a
die clash. When this is done the polish
lines appear as raised scratches on the
surface of a coin and more often than not
some of the intended design elements are
missing. As previously mentioned these
are very common and usually command no
premium at all. With die-hard die variety
enthusiasts they never command a
premium. There are, however, exceptions
that are noteworthy. The infamous 1937-D
“3-legged Buffalo” is such an example.
While hard-core die variety specialists do
not acknowledge this as a major premium
coin because they know what it is—die
polishing—the hobby in general has
embraced this coin largely because of its
endearing nickname and the widespread
publicity and marketing it has received.
Other examples would be the “No FG”
Kennedy half dollars and the “No V.D.B.”
(post-1917 only) Lincoln cent varieties.
Again, because they are such common
error types, hard-core specialists usually
will pay no premium for such coins, but
the hobby in general often does. It pays to
educate yourself.
Die Varieties
As previously stated, these are still die
errors but have been separated here
because they are the die error (die
variety) types that are receiving all the
hoopla in the hobby these days. These are
the coins that often make headlines and are
now dominating new research in the
hobby. The doubled die is unquestionably
the most popular and the most prominent
of this group and will be cited last so that
we may give you a brief explanation of the
different classes of doubled dies
immediately following the definition.
Repunched Mint Mark (RPM)—One
of the hottest areas of the market because
of the variety type desirability and the
affordability of most RPMs. Until 1985
for proof coinage and 1990 for circulating
coinage the mint mark was hand punched
into all the working dies. More often than
not a single blow of the punch did not
result in sufficient relief so a second or
more blows were necessary. If the punch
was not placed in the perfect location for
a second blow doubling of the mint mark
was the result. In a few rare instances
secondary mint marks are completely
separate from the primary mint mark and
these command substantially higher
premiums than typical RPMs. Examples of
this would be CONECA’s 1956-D
Lincoln cent RPM#8, which is completely
separate way south of the primary mint
mark, and CONECA’s 1942-S Lincoln
cent RPM#12, which is completely
separate west of the primary mint mark.
Over Mint Mark (OMM)—The same
as a repunched mint mark (RPM) only this
involves two different punches with
different mint marks. One mint mark is
punched on a die and then a different mint
mark is also punched on the same die. The
most well-know examples would be the
1944-D/S Lincoln cent and the 1954-S/D
Jefferson nickel. OMMs are very popular
and typically command a substantial
premium. Keep in mind that until 1996 all
die preparation was done in Philadelphia
so the mystery of “How could this
happen?” is not so unimaginable.
Dual Mint Mark (DMM)—Many
specialists are seeing this and asking
“What?!!!” As of this writing this term and
acronym are not widely accepted and, in
fact are largely unheard of in the hobby. It
is included here to alert you to a new and
sure to be valuable variety type. This term
was conceived by noted author and
variety specialist Ken Potter, keeper of
the Variety Coin Register, in late 1997
upon the discovery of a 1956 Lincoln cent
that sports mint marks from both Denver
and San Francisco. It is true! The variety
appears to be a normal 1956-D Lincoln
cent in every respect except it has an “S”
mint mark punched below and between the
“1” and the “9” of the date! This was a
year when San Francisco produced no
circulating coinage, yet the “S” mint mark
is there! It differs from a typical OMM in
that the mint marks are totally separate. In
1999 a 1980-D Lincoln cent was
confirmed to have both a “D” and a
separate “S” mint mark!
Repunched Date (RPD)—Repunched
dates occur much the same way RPMs and
OMMs do. Up to and including 1908 at
least one digit (the last in the date) was
punched into working dies by hand. This
could involve a logo punch with one, two,
three, or all four of the digits in the date.
Again, in order for subsequent punches to
be unnoticeable, perfect alignment was a
must. This did not always happen, with the
result being some digits showing doubling
or tripling or even more. RPDs are quite
common from the earliest days of the
United States right up to and including
1908, appearing in most years from
virtually every denomination. This does
not mean, however, that they do not
command a premium, as most do. This
premium can be small to exorbitant! The
general rule of thumb is the more
noticeable the repunching the more
desirable the piece, therefore the higher
the premium. Scarcity of certain RPDs is
also a big factor when determining a
value. Generally, the older the coin (from
pre-1909) the more likely you are to
encounter an RPD variety.
Misplaced Date (MPD)—These are, in
effect, repunched dates, the major
difference being they are digits punched in
areas not normally associated with digit
placement. In other words, digits punched
in the die but not touching the date!
Currently there are many hundreds of
known MPD varieties and the list
continues to grow almost daily! All the
rules apply as those for RPDs but the
digits may be found almost anywhere
within a half inch or so of the date. Digits
may be found in the denticles or on other
design elements. Sometimes these digits
are punched more than once. In fact, there
is an 1870 Indian Head cent that has no
less than 11 digits punched in the denticles
—the exact number of visible digits is
still being debated! This term was first
coined by Larry Steve, noted author,
specialist, and first president of the Flying
Eagle and Indian Cent Collectors Society,
in about 1990. The organization is
affectionately referred to as “The Fly-In
Club.” Most MPDs command some kind
of premium, with many bringing
substantial premiums. It is important to
note that some MPDs are found on dates
and denominations where only one die is
known to have been used; therefore, all
the coins of that date and denomination
display the variety; although these coins
have no premium for the variety they are
still likely to be valuable coins due to
their low mintage. MPDs are extremely
popular and widely sought, though indepth research has really just begun.
Overdates—Overdates are just as the
name implies—one date over or under
another. These are probably the most
desirable of die varieties across the board
in numismatics and have been collected
for a long time, even though until recently
all the causes had not been understood.
There are three ways this is known to
occur. One digit may be hand punched
over another on a die. This is the most
common type of overdate and many exist,
especially from the early 19th century.
Another way is by one gang punch, with
all the digits placed in one punching
device, punched over another date on a
die. This is more scarce than the previous
type of overdate but many examples do
exist, mostly from the latter part of the
19th century. There are some known
instances where both the above were
created on dates in a series where only
one die was used so, again, the variety
itself commands no premium but the coin
sure does due to its scarcity. The final
cause for overdates leads us right into the
hottest area of die variety collecting today
—doubled dies. They are the result of
Class III (design hub) doubling where a
hub of one date received a hubbing of
another date. These are rare instances that
always bring substantial premiums. These
are the cause of most, if not all, 20thcentury overdates and will be discussed in
more detail in the next section. Examples
of this type of overdate are the 1943/2-P
Jefferson nickel and the 1942/1 (both
Philadelphia and Denver) Winged Liberty
(Mercury) dimes.
Doubled
Dies—The
following
definitions and descriptions are taken
almost verbatim from a special four-page
flyer written by Don Bonser and printed
by J. T. Stanton Publishing. It is presented
here because of the simplicity and brevity
of the respective definitions and
descriptions, as this is a very difficult
area to grasp. Take the time to learn this,
as doubled die collecting is very
rewarding and popular! Post-discussion
and comments are by this chapter’s author.
The result of an error in the hubbing
process that causes doubling of some
element(s) of a coin’s design, doubled
dies should not be confused with double
strikes. A word of caution: Do not confuse
true doubled dies with common, virtually
uncollectible machine doubling (also
known as strike doubling and ejection
doubling, as well as other similar terms).
True doubled dies show distinct, rounded
doubled images most often with some
separation and/or split serifs. Strike or
machine doubling is caused (primarily) by
a die being loose in the coining press and
shows on struck coins as a flat, shelf-like
doubling (with “sheer” lines usually
visible under magnification on the
“shelves”). Doubled dies can range from
fairly common to very rare. Each
individual one (doubled die) is created
under a separate circumstance. Most are
scarce to very scarce. Following are the
(most widely accepted) classes and
causes of doubled dies.
Class I, Rotated Hub Doubling—This
occurs when different hubbings result in a
slight (to major) rotation about the center
of the die being hubbed. Doubling is slight
near the center of the die (and coins struck
from it) and increases toward the edge.
Doubling is more or less uniform. The
best known examples are the major 1955
and 1972 doubled die cents.
Class II, Distorted Hub Doubling—
This kind of doubling occurs when a hub
that has been used to prepare a particular
die is also employed for producing many
other dies before being returned for use
with the earlier one. During the interim
while the hub is hubbing many more dies,
its metal fatigues and, literally, “spreads
out.” Doubling results because the hub’s
design, when it is used to force its image
into the die, is actually in a slightly
different location each time. A simple
analogy may help you to understand this
better. What happens when a pencil eraser
is pushed into a hard surface? It spreads
out. The same occurs, although to a lesser
degree, to a hub as it is used to prepare
die after die.
Class III, Design Hub Doubling—This
results from differing hub designs being
used on the same die. This kind of
doubling causes overdates, large over
small dates, and small over large dates (to
name a few). It also caused the 1878 7
over 8 tailfeathers Morgan dollar
varieties.
Class IV, Offset Hub Doubling —This
is, by far, one of the rarest forms of
doubling on United States coins. Out of
over 2,000 listed doubled dies, under 30
are the result of this form of doubling.
Ironically, though, both the well-known
1983 (doubled die reverse) and 1984
(doubled die obverse with doubled ear)
Lincoln cent doubled dies are Class IV
varieties. This kind of doubling occurs
when a die, already having been hubbed
properly, is hubbed again but is centered
improperly under the hub. In other words,
the die is somewhat displaced from its
original position, but not rotated about this
position. Doubling is offset in the same
direction across the die and is uniform.
Class V, Pivoted Hub Doubling —This
is very similar to rotated hub doubling
(Class I) except the “pivot point” between
hubbings is near the rim of the coin.
Design elements farthest from the pivot
point will be doubled most obviously,
while those closer to it (the pivot point)
will be doubled only slightly, if at all. The
1995 Lincoln cent—Die 1, still fresh in
the mind of the entire hobby, is an
example of pivoted hub doubling with the
pivot point (area of least doubling) being
around 3 o’clock on the obverse.
Class VI, Distended Hub Doubling—
This form of doubling is unique in that
there is little to no separation of images on
coins produced by dies with this sort of
doubling. As hubs are used, their raised
design elements flatten out slightly. The
design imparted by such a hub will not
penetrate as far into a die and the die will
produce coins showing designs that are
thicker than normal. (The 1943 Lincoln
cent with a super fat date is perhaps the
most shining example of this form of
doubling.)
Class VII, Modified Hub Doubling—
This name arises from use of a hub that
has had some undesirable part of design
ground off, rather than wasting an
otherwise useable hub. On occasion, the
unwanted portion of design is not ground
off completely and all dies prepared by
this hub will produce coins showing
doubling of a specific design element.
Examples include 1970 cents of all mints
with the remainder of a high or low 70
showing near the date (and a 1963-D cent
that shows portions of a 3 whose design
never was used, under the primary 3 in the
date).
Class VIII, Tilted Hub Doubling—
This form of doubling is not included in
the aforementioned flyer and is still hotly
contested as to whether it is even another
class of doubled die. However, most
specialists agree that it is, and, if so, it is
the rarest known form of hub doubling, as
less than a handful of doubled dies are
listed with this classification. It is
included here because of the significance
of those varieties listed with this
classification.
This class is defined pretty much the
way it sounds and supposedly involves a
tilted hub. When we say tilted hub we
mean tilted (either the the hub itself or the
die being hubbed) in the hubbing press,
not the coining press. Remember, the
hubbing press is the press that “squeezes”
the impression from the hubs to the dies,
in effect striking the dies. Supposedly,
again, the hub or die is tilted as the result
of an uneven cut on the hub or die blank or
from some debris or foreign object lodged
in the hubbing press so as to not allow for
firm, square seating of the die blank being
“squeezed.” Squeezing is the Mint’s term
for striking. Many specialists consider the
rare Indian cent 1891 doubled die obverse
(Fivaz/Stanton #FS-010.87 and Snow #S3) to be this class of doubled die, as the
doubling is easily visible on the word “Of
” and slightly on the word “Liberty” but
hardly anywhere else.
So there you have it—simple (as simple
as can be anyway) and concise definitions
of the types, causes, and classes of
doubled dies normally accepted today.
However, in 1996 the U.S. Mint
introduced a new hubbing press that is
supposed to bring about sufficient relief
on working dies with just one squeeze,
thereby eliminating the possibility of
doubled dies. Prior to installation of these
new hubbing presses one squeeze was
never enough, which is why so many
doubled dies are known to exist. This new
single-squeeze hubbing press has already
sparked controversy in the numismatic
community with the discovery of a
doubled ear 1997 Lincoln cent. First
reported by Iowa collector Larry
Philbrick, the coin remains mired in
controversy, as most specialists believe it
to be a Class IV or VIII doubled die while
some of the most respected specialists do
not agree that it is a doubled die at all.
And, indeed, the Mint itself has declared
it not to be a doubled die, referring to it
mostly as an unfinished die. The Mint
claims the area in question (Lincoln’s ear)
is on all cent dies after the single squeeze
and is always, except in this case, stoned
or ground off before being used.
Specialists who agree with it being a
doubled die say, “Show me some other
dies with this effect,” while those who
abide by the Mint’s explanation still do
not understand fully exactly what the Mint
is trying to say! Needless to say, many
specialists are lobbying for yet another
classification of doubled dies, one that is
created with a single hubbing! Stay tuned.
…
As was stated at the beginning of this
chapter, the study of error and variety
coinage is very complex, requiring years
of study to understand the causes and
effects of certain anomalies in the die
making and minting process. Obviously
this chapter is greatly condensed and
multitudes of fine references have been
published on the subject—none of them,
however, have been or will ever be
complete! Also, because of the complexity
of the subject and the length of time
involved in fully explaining the die
making and minting process, we have not
even begun to explain the process. This
requires a freestanding reference of which
several are available and referenced as
recommended reading at the end of this
chapter.
Additionally, we have largely confined
our discussion to those types most
normally encountered on coins that have
been manufactured using fairly modern
equipment. This fairly modern equipment
dates back to the mid-19th century but,
hey, “If it ain’t broke, why fix it?” as the
saying goes. This is one area, in our
opinion, where the government got it right
a long time ago and only minor tweaking
has been required since! For example,
prior to the installation of this “modern”
equipment, coins were hand struck using a
giant, awkward screw press. Because
each coin was handled by hand very few
of the striking errors made it out of the
Mint, so you are not as likely to encounter
them as all the others discussed in this
chapter. As for die varieties, the methods
used to manufacture dies has changed as
well and would require yet another
chapter on the early die-making practice.
However, so you are aware of them, early
die varieties have been cataloged for
nearly as long as the coins themselves
have been in existence, and most design
types and denominations have excellent
references available for the cataloging of
their varieties. It was easy to do this with
the early coinage as far fewer dies were
produced. For example, there was but one
original obverse die produced for the
1844 half cent, yet there was somewhere
in the neighborhood of 9,000 obverse dies
for the 1994-D Lincoln cent alone.
Common sense should tell you it is much
easier to catalog the half cent varieties
than it is to catalog the Lincoln cent, yet
collecting Lincoln cents by variety is
easily one of the most active areas in the
hobby today! Below are listed some of the
design types not discussed (as well as
many that were) in this chapter along with
the name of the cataloging system(s) used
and a sample number from each system;
this way you may at least be familiar with
what you are reading when you encounter
them elsewhere.
What the Numbers Mean
Half Cents—Cohen, Munson & Munde
—CMM1
—Cohen—Cohen 1, Cohen PO 1, SR
2, etc.
—Breen—Breen 1
Large Cents—Sheldon—Sheldon 1
—Newcomb—Newcomb 1
Flying Eagle & Indian Cents—Snow—S-1
—FINDERS Report (Larry Steve)
—FND-001
Two Cents—Leone—Leone 65P-3o1r
—Flynn—KF-P12-RPD
Half Dimes (Bust)—Valentine—V-1
(Seated)—Valentine—V-1
—Logan & McCloskey—LM-1
Shield Nickels—Fletcher—F-01
Liberty & Shield Nickels—Peters &
Mohon—PM 01.1
Dimes (Bust)—Davis—Davis 1
—Hilt—Davis, Logan, McCloskey
and Subjack Variety—Hilt 7F
Dimes (Seated)—Ahwash—Ahwash 1
—Greer—Greer No. 101
Quarters (Bust)—Browning—Browning 1
Quarters (Seated)—Briggs—Obverse 2B
Half Dollars (Flowing Hair & Bust)—
Overton—O-101
Half Dollars (Seated)—Beistle—Beistle
2-B
Dollars (Flowing Hair & Bust)—
Bolender-B-1
—Haseltine—H-1
—Bowers-Borckardt—BB-251
Dollars (Seated Liberty)—Breen—Breen
5438
—Bowers-Borckardt—BB-1
Dollars (Trade)—Breen—Breen 5796
—Bowers-Borckardt—BB-1
Dollars (Morgan & Peace)—Van Allen &
Mallis—VAM#1
Gold (just about any)—Breen—Breen 1B
or Breen 6328
20th-Century Die Varieties (some of
which include those of series for the
19th century as well):
Doubled Dies—CONECA—CONECA
DDO#1 & 1-O-I
—Wexler—Wexler DDO-001
—Potter—Potter VCR#1/DDO#1
RPMs
&
OMMs—CONECA
—CONECA RPM#1
—Wexler—Wexler RPM-001
—Potter—Potter VCR#1/RPM
Miscellaneous Varieties—
Fivaz/Stanton—FS#023
“From the Cherrypickers”—Guide to
Rare Die Varieties Series
It should be noted here that the Wexler
numbers are also those of the National
Collectors Association of Die Doubling
(NCADD).
THE COMBINED ORGANIZATIONS
OF NUMISMATIC ERROR
COLLECTORS OF AMERICA
(CONECA)
In the early part of 1983 there were two
significant national error collecting clubs
—Collectors of Numismatic Errors
(CONE) and Numismatic Error Collectors
of America (NECA). By mid-year the two
organizations had merged, forming
CONECA, the only numismatic specialty
club devoted exclusively to the study and
advancement of error and variety
collecting. Since that time the organization
has consistently forged the future of the
error and variety hobby using its motto
“Knowledge Through Education” as its
guiding beacon.
The club supplies members with
Errorscope,
an
award-winning
publication, on a bi-monthly basis.
Errorscope is full of educational and
informative articles including splendid
detailed photographs. Also included in
each issue is an error and variety auction
(in which only members participate),
which often consists of more than 800
lots. The auctions offer one of the best
sources available anywhere for members
to add to their collections or sell their
duplicates.
Also included with CONECA
membership is perhaps the finest error and
variety reference library in existence
today. All members have to do to borrow
from it is pay shipping both ways on what
they borrow. As if that is not enough, the
club also offers the fun and sometimes
rewarding fund-raiser known as Winner’s
Windfall where members have an
opportunity to win error and variety coins
worth sometimes in excess of $500!
For the last several years the club has
been aggressively publishing photo
attribution guides for die varieties on
20th-century coins. It is the goal of the
club to not stop this trend until all 20thcentury coinage is covered in these
guides.
The club has always offered an
authentication,
examination,
and
attribution service but the one in place
today rivals anything ever available
anywhere. For just $2.50 per coin for
members ($5 for nonmembers), plus
shipping and insurance, members receive
confident, accurate attributions of their
20th-century die varieties. And, if a
submission is a new listing (previously
unreported die variety), the member also
receives an 8½ × 11 certificate, complete
with photographs, the new number, and a
complete description of the variety that is
suitable for framing. All this for no extra
charge!
The pinnacle of each calendar year,
after having already been a force at many
major coin shows throughout the year, is
the group’s annual Errorama, usually held
in conjunction with the American
Numismatic Association’s Anniversary
Convention. Errorama features many of
the nation’s top error and variety dealers;
the majority of the finest researchers;
educational and fellowship events; the
club’s annual business meeting, which
members are encouraged to attend; an
annual cherrypicking contest; and the
anxiously awaited, well-received, wellattended, and hottest party in town—The
Annual Awards Banquet. Here the club’s
most dedicated volunteers are recognized
for their hard work amid camaraderie that
is perhaps unrivaled in the hobby! The
event is always casual and includes a
fantastic dinner. CONECA believes
hobbies are supposed to be fun so it also
believes in having fun.
Membership is currently $25 per year
for regular members and only $10 per
year for YNs (under age 18). There is also
a first-class mailing option, which is
highly recommended if you plan to
actively participate in any club activities
or events. This option costs $12.50 extra,
with foreign postage extra as well. For
more details and a membership
application send a large, self-addressed,
stamped envelope (LSASE) to: Paul
Funaiole 35 Leavitt Lane Glenburn, ME
04401-1013 or visit the club’s Web site at
http://conecaonline.org.
OTHER SPECIALTY CLUBS AND
ORGANIZATIONS
Whereas CONECA may be the only
specialty club devoted exclusively to the
study of error and variety coinage, there
are many clubs and organizations that
specialize in a particular denomination
and/or series of U.S. coinage that
regularly feature error and variety articles
in their publications also. Below is a
partial list of them, their area of
specialization, and an address you may
write to for more information.
Barber Coin Collectors
Society (BCCS)
Eilleen Ribar
2053 Edith Place
Merrick, NY 11566
All Barber Design Coinage
Early American Coppers
Box 3497
Lake Worth, FL 33465
Large & Half Cents
John Reich Collectors Society
Stephen Crain
Box 1680
Windham, ME 04062
U.S. Bust Coinage
Flying Eagle & Indian Cent Collectors
Society
(The Fly-In Club)
c/o Eagle Eye Rare Coins
Box 559
Sandwich, IL 60548
Phone 866-323-2646
website: www.fly-inclub.org
Flying Eagle & Indian Cents
Society of Silver Dollar Collectors
(SSDC)
Box 42112
Greenboro, NC 27425
U.S. Silver Dollars
Bust Half Nut Club
PO Box 4875
Margate, FL 33063
Bust Halves
The National Collectors Association of
Die Doubling
c/o John Bordner
PO Box 15
Lykens, PA 17048-0015
Doubled Dies, RPMs, and OMMs
Liberty Seated Collectors Club
Box 6114
Vernon Hills, IL 60061
Liberty Seated Coinage
RECOMMENDED ERROR- AND
VARIETY-RELATED READING
As has been stated many times
throughout this book and especially in this
chapter, there is currently a wealth of
information available to the error and
variety enthusiast. Although it is
impossible to list it all here, many of the
best are given here for your consideration.
Keep in mind that all of the specialty
organizations listed previously publish
excellent club journals that you should
also consider. One should not forget all of
the recommended publications listed
elsewhere in this book as well. Each of
them contains error- and variety-related
articles and information in each issue, and
most of them have regular error- and
variety-related columns.
Periodicals
Errorscope
c/o Paul Funaiole
35 Leavitt Lane
Glenburn, ME 04401-1013
Published six times per year, this is the
official publication of CONECA and the
only periodical devoted exclusively to the
study of error and variety coinage. This is
also the address to write for information
on membership in CONECA, or you can
visit CONECA’s official website for an
application form and lots of information
on error and variety
www.conecaonline.org.
coinage
at
Cherrypickers’ News
PO Box 15487
Savannah, GA 31416-2187
Edited and published six times per year by
J. T. Stanton; this publication has
historically been full of quality
photographs of recent and not-so-recent
finds. It also features the only price guide
available for a Fivaz/Stanton variety 1
coin. Though this publication has been on
hiatus for the past couple of years, it is
scheduled to make a return.
Error Trends Coin Magazine
PO Box 158
Oceanside, NY 11572-0158
An excellent source of information on
error coinage, it usually includes some
variety information as well. Each monthly
issue also contains error coin pricing
information.
Books
The Official Price Guide to Mint
Errors, Sixth Edition, by Alan Herbert.
This is perhaps the best, all-inclusive
reference on the subject, with much more
information than just pricing. As far as
pricing goes, this book is undoubtedly the
most up-to-date book with error coin
values but is somewhat out of date due to
the sharp, seemingly unending rise in error
coin values.
The Cherrypickers’ Guide to Rare Die
Varieties, Fourth Edition, by Bill Fivaz,
J. T. Stanton, and Mike Ellis. One of the
best selling books in the entire hobby! A
must-have reference for all variety
enthusiasts: 320 + pages and 1,000 +
photographs!
The Error Coin Encyclopedia, Second
Edition, by Arnold Margolis. One of the
two best books available on the subject of
error coinage. Loaded with photographs
and pricing information, this book takes
you through the entire minting process.
The Modern Minting Process, and U.S.
Minting Errors and Varieties, by Dr.
James
Wiles.
Contains
two
correspondence courses from the ANA
School of Numismatics with over 34 color
photographs and hundreds more in black
and white. Available only through the
American Numismatic Association but
one of the best references on the subject
today!
Other
Note: Most of the following and the
aforementioned books are available
through most numismatic book and supply
dealers including Coin World and the
American Numismatic Association’s
Money Market catalog.
The Washington Quarter Dollar Book:
An Attribution and Pricing Guide (1942–
1945) , Volume Two, by James Wiles,
Ph.D.
The Washington Quarter Dollar Book:
An Attribution and Pricing Guide (1946–
1954) , Volume Three, by James Wiles,
Ph.D.
The Jefferson Nickel RPM Book: An
Attribution and Pricing Guide, by James
Wiles, Ph.D.
The Hot 50 Morgan Dollar Varieties,
(50 Exciting New Varieties That
Supplement the “Top 100”), by Jeff
Oxman.
Treasure Hunting Walking Liberty
Half Dollars, by Kevin Flynn and Brian
Raines.
The Flying Eagle & Indian Cent
Attribution Guide, 2nd Edition, Volume 1
(1856–1858), by Richard E. Snow.
The Flying Eagle & Indian Cent
Attribution Guide, 2nd Edition, Volume 2
(1859–1869), by Richard E. Snow.
The Flying Eagle & Indian Cent
Attribution Guide, 2nd Edition, Volume 6
(1900–1909), by Richard E. Snow.
Treasure Hunting Mercury Dimes, by
John A. Wexler and Kevin Flynn.
The Authoritative Reference on ThreeCent Nickels, by Kevin Flynn and Edward
Fletcher.
Treasure Hunting Liberty Head
Nickels, by Kevin Flynn and Bill Van
Note.
The Washington Quarter Dollar Book:
An Attribution and Pricing Guide (1932–
1941), by James Wiles, Ph.D.
Treasure Hunting Buffalo Nickels, by
John A. Wexler, Ron Pope, and Kevin
Flynn.
The Complete Price Guide and Cross
Reference to Lincoln Cent Mint Mark
Varieties, by Brian Allen and John A.
Wexler.
The RPM Book, Second Edition:
Lincoln Cents, by James Wiles, Ph.D.
Flying Eagle and Indian Cent Die
Varieties, by Larry R. Steve and Kevin J.
Flynn.
The Fly-In Club Attribution Files, by
Rick Snow.
A Buyer’s and Enthusiast’s Guide to
Flying Eagle and Indian Cents, by Q.
David Bowers.
The Complete Guide to Lincoln Cents,
by David W. Lange.
Longacre’s Two-Cent Piece—1864
Attribution Guide, by Frank Leone.
The Shield Five Cent Series, by
Edward L. Fletcher, Jr.
The Complete Guide to Shield and
Liberty Head Nickels, by Gloria Peters
and Cindy Mohon.
Federal Half Dimes, by Russell J.
Logan and John W. McCloskey.
The Complete Guide to Liberty Seated
Half Dimes, by Al Blythe.
The Complete Guide to Liberty Seated
Dimes, by Brian Greer.
The Best of the Washington Quarter
Doubled Dies, by John A. Wexler and
Kevin Flynn.
The Comprehensive Encyclopedia of
United States Liberty Seated Quarters,
by Larry Briggs.
The Complete Guide to Barber
Quarters, 2nd Edition, by David
Lawrence.
The Complete Guide to Barber Halves,
by David Lawrence.
The Kennedy Half Dollar Book, by
James Wiles, Ph.D.
The Top 100 Morgan Dollar Varieties:
The VAM Keys, by Michael S. Fey, Ph.D.,
and Jeff Oxman.
The Comprehensive Catalog and
Encyclopedia of Morgan and Peace
Silver Dollars, 4th Edition, by Leroy C.
Van Allen and A. George Mallis.
The 1878 Morgan Dollar 8-TF
Attribution System, by Jeff Oxman and
Les Hartnett.
The 1878 Morgan Dollar 7/8-TF
Attribution Guide, by Jeff Oxman and Les
Hartnett.
The RPM Book, by John A. Wexler and
Tom Miller.
Two Dates Are Better Than One: A
Collector’s Guide to Misplaced Dates,
by Kevin Flynn.
Walter Breen’s Encyclopedia of
United States Half Cents—1793–1857,
by Walter Breen.
Walter
Breen’s
Complete
Encyclopedia of U.S. and Colonial
Coins, by Walter Breen.
Bill Fivaz’s Counterfeit Detection
Guide, by Bill Fivaz.
Encyclopedia of Doubled Dies,
Volumes I and II, by John A. Wexler.
Cherrypickers’ News 1996 Yearbook,
by J. T. Stanton.
Cherrypickers’ News 1997 Yearbook,
by J. T. Stanton.
Cherrypickers’
News
1998/99
Yearbook, by J. T. Stanton and Mike Ellis.
Joja Jemz Reprints, by J. T. Stanton
and Bill Fivaz.
The Lincoln Cent Doubled Die, by
John A. Wexler.
WHERE TO BUY AND SELL ERROR
AND VARIETY COINAGE
There are many good places to buy and
sell error and variety coinage but it may
be easiest to find one dealer who is
honest, fair, friendly, and encouraging. If
you locate that one dealer, even though he
may not have what you are looking for nor
want everything you have to offer, he can
and usually will point you in the “right”
direction. Good error and variety dealers
enjoy their occupation as much as the
collectors they are dealing with.
Currently, the best place to buy and sell
error and variety coinage is through
CONECA’s auction or via the Internet.
The eBay site has been a fantastic place to
sell striking errors!
ERROR AND VARIETY VALUES
Error and variety coins are among the
most difficult of all to assign value to. The
number of variables involved in assigning
value goes way beyond that of normal
coins. Keep in mind that planchet and
striking errors are unique—no two are
ever just alike! Imagine the implications
of that statement. It is possible to supply a
very simple and basic generic error type
value guide, but it has been impossible, at
least to date, to formulate such a price
guide and maintain it with any accuracy.
Many factors contribute to this dilemma.
One of the largest obstacles is the fact that
there are no known specific numbers of
error types available. Error and variety
collecting is a recent phenomena that is
very much experiencing growing pains!
One of the truly fascinating aspects
governing the error and variety hobby is
the fact that supply, demand, and
desirability are the only governing
aspects. In other words, most purchase a
coin because they like the coin and not
because they believe it will net them lots
of money in the future (though at present
most should buy for this reason because of
the lack of availability!).
As for pricing of die varieties, the
equation becomes only a little easier.
There are thousands of well-documented,
well-publicized die varieties, many of
which have been actively sought and
highly prized by collectors for years.
Value information for these varieties is
readily available in many price guides,
including the guide found in this book. It is
listed with all the normal coins. But what
about the thousands more that are not
listed anywhere? Again, availability and
demand are the key factors. Hints as to
relative scarcity and demand found in
works about specific varieties or series
may be used to formulate your own value.
Additionally, specialists are regularly
confronted with estimate requests and
those who actively buy, sell, and trade
these varieties should be considered the
number one source for this information.
However, don’t rely on one; ask several.
Then you may average out their estimates
for a pretty good idea of what is fair for
your coin. Several other factors must be
considered also: Demand, grade, and
known availability are but a few.
The values are for basic, no frills, 20thcentury planchet and striking errors. As
with all coin pricing guides, values are
subject to change with market conditions.
The values are for super common and/or
undated coins that are most often
encountered. With the tremendous
increase in popularity of these errors it
would be ludicrous to establish prices
here for the more glamorous error types as
their value continues to spiral upward.
Basic Error Coin Prices
With the extended and increased
popularity of error and variety coinage
values are mostly spiraling upward even
for the most common striking errors. It
will likely be many years from now
before any kind of true, established value
guide can be published. However, through
the use of modern technology and instant
updating capabilities, there is one
company attempting such an endeavor.
Through the use of state-of-the-art
software, NumisExpert is making valiant
strides and is highly recommended for
maintaining organized details and values
of your numismatic collection. You may
contact the company on the Internet by
v i s i t i ng www.coinweblisting.com. At
present, it is believed it will be the first to
accomplish the task in a reliable and
affordable manner.
THE AMERICAN
NUMISMATIC
ASSOCIATION
HISTORY
Most of today’s coin collectors
probably know that there is an American
Numismatic Association (ANA), the
largest organization of coin collectors in
the world. However, many may not realize
that the Association is more than 100
years old.
An educational, nonprofit organization,
the American Numismatic Association
invites and welcomes to membership all
persons who have an interest in
numismatics—whether they collect coins,
paper money, tokens, or medals—whether
advanced
collectors
or
those
noncollectors only generally interested in
the subject. Members, located in every
state of the Union and in many other
countries, total nearly 30,000.
A factor that deterred the Association’s
development during its first three-quarters
of a century was the geographic dispersal
of its functional offices: the executive
secretary was in Phoenix, Arizona; the
treasurer in Washington, D.C.; the editor
in Chicago, Illinois; and the librarian in
Lincoln, Nebraska. None of the staff was
full-time or received pay, and most
operated out of their homes or private
offices. Obviously, this situation limited
and hampered communication and made
for inefficient operation in general.
Since 1967 ANA operations have been
centered in Colorado Springs, Colorado,
and in 1982 the building was expanded to
almost twice its original size. In 2001 the
Money Museum and Library were
expanded and completely renovated.
Museum exhibits will soon be online at
www.money.org A board of governors,
which establishes policy in determining
all bylaws and regulations, is elected from
the membership on a regular basis and
serves without pay. Implementing
established policy in Colorado Springs is
a full-time salaried professional staff that
includes an executive director, editor,
librarian, curator, authenticator, and
assistants and clerical staff.
The principal objectives of the
Association are the advancement of
numismatic knowledge and better
relations among numismatists. Collectors
will find the annual membership dues low
compared to the tremendous value to be
found in the prestige and services that
membership offers.
The ANA does not buy or sell coins. Its
revenue comes from membership dues and
is supplemented by gifts, bequests, and
contributions. It receives no operating
funds from any governmental body. Any
net income from various activities is used
on behalf of its members and for the
advancement of the hobby.
When the ANA was organized in
October 1891, Dr. George F. Heath, the
motivating force, was honored with
membership No. 1. Member No. 1,000
was admitted in March 1908; No. 10,000
in March 1944; No. 50,000 in August
1963; and No. 100,000 in August 1979. Of
course, the passing of time has taken its
toll, and today’s membership is slightly
less than a third of the total number
enrolled during the Association’s more
than 100 years.
An important date in the history of ANA
is May 9, 1912, when it was granted a
federal charter by the U.S. Congress.
Signed by President Taft, the act gave the
charter a fifty-year life. A congressional
amendment dated April 10, 1962, allowed
for an increase in the number of ANA
board members and perpetuated the
charter indefinitely. One of very few such
charters ever granted, it has given the
Association prestige and has been a
stabilizing influence on its management.
DUES
Collectors under the age of twenty-three
are encouraged in the hobby by lower
membership dues, special exhibit classes
and programs at conventions, and other
educational programs.
Classes of membership are as follows:
Regular—adults twenty-three years of
age and older (eligible for all benefits,
including
receipt
of Numismatist
Magazine) ; Club—nonprofit numismatic
organizations (entitled to all benefits);
Junior—twenty-two years of age and
younger (entitled to all benefits but cannot
hold office); and Life Member—
corresponding to Regular members but a
one-time fee is paid for lifetime
membership. Memberships are not
transferrable from one person to another,
and member numbers are never
reassigned.
There are several different types of
membership available. Please contact the
ANA for more information.
American Numismatic Association
818 North Cascade Avenue
Colorado Springs, Colorado 80903-3279
U.S.A.
General: 800-367-9723
Membership: 800-514-2646
Local Phone: 719-632-2646
NUMISMATIST
Numismatist, the Association’s monthly
magazine, is actually older than the ANA
itself, having been started by Dr. Heath in
1888 (September–October) and published
privately through 1910. It did, however,
cooperate with and champion the cause of
the Association—before and after its
organization. In 1910 the vice president of
ANA, W.W.C. Wilson of Montreal,
purchased the magazine from publisher
Farran Zerbe and gifted it to the
Association, which has continued its
publication without interruption.
Numismatist, totally revamped with
color images throughout the 112-page
magazine, continues to be the official
publication and voice of the Association.
It contains well-illustrated articles about
various phases of collecting, identifying,
and caring for coins, tokens, medals, and
paper money. Included are news items
regarding Association activities, new
issues of coins, medals, and paper money,
and developments within the hobby.
The advertising pages of the magazine
are open only to ANA members, who must
agree to abide by a strict “Code of
Ethics.” Members receive the magazine as
one of the advantages of membership.
LIBRARY SERVICES
Aside from the magazine, one of the
earliest services offered to ANA members
was the use of a circulating numismatic
library, which has grown to be the
world’s largest facility of its kind. The
library houses more than 25,000 books
and more than 22,000 periodicals and
convention catalogs, the majority of which
are loaned by mail to members and are
available to non-members for use in the
Colorado Springs headquarters.
The library’s resource center maintains
and loans numismatic videos and slide
sets to members and clubs for their
meeting programs. These sets cover many
different phases of numismatics and are
available without cost except for shipping
charges.
ANA COLLECTOR
SERVICES
CUSTOM PHOTOGRAPHY
Numismatic photography is an art in
itself, as any collector or professional
photographer can attest. ANA Collector
Services is equipped to photograph all or
part of your collection for audio-visual
presentations, exhibits, publications, or
insurance purposes. Those submitting
material can request quality black-andwhite prints (actual size or greatly
enlarged) or 35mm color slides.
Searching for a photograph of a
particular numismatic item? ANA
Collector
Services
maintains
a
photographic archive of millions of coins,
tokens, medals, paper money, and related
material. Images of items in the ANA
Money Museum cabinet also are
available.
For additional information, contact:
ANA Collector Services, 818 North
Cascade Avenue, Colorado Springs, CO
80903-3279, telephone 800-367-9723,
Fax
719-634-4085,
e-mail:
[email protected].
VAULT STORAGE/INSURANCE
One of the primary concerns of
hobbyists today is good security and
insurance for their collections at a
reasonable cost. Happily, both are
available through ANA Collector
Services. For a low rate, collectors can
acquire “lock boxes” in vaults maintained
at the ANA Money Museum. Your
package will be opened and inventoried
on videotape, and the contents evaluated.
Subsequently, the package will be
resealed and stored in climate-controlled
vaults. (If desired, a videotape of the
entire procedure can be provided.) All
records of storage are private and
confidential.
You can request return of your
collection at any time. Collections under
ANA custodial care are eligible for
special, low-cost insurance rates.
NUMISMATIC CONSULTATION
ANA Collector Services’ virtually
limitless resources are at your disposal.
For a reasonable fee, you can confer with
experienced staff members about:
• Acquisition
• Appraisals
• Attribution
• Certification
• Charitable donations
• Consigning to an auction
• Estate assistance
• Identification
• Liquidation
• Preservation
• Research
• Storage
Items subsequently can be submitted to
ANA Collector Services for further
evaluation. Recommendations are based
on this evaluation and the submitter’s
needs.
VIDEO DOCUMENTATION
An audio-visual record of your
collection can be both valuable and
versatile. Consider these advantages:
• Enjoyment. Share your collection
with friends and fellow hobbyists
without worry.
• Security. View your collection
whenever you wish, knowing that
actual specimens are securely locked
away.
• Sales. Offer a preview of your items
for sale or auction without risk.
• Estate Assistance. Prepare a copy of
the video for the executor of your
estate, complete with instructions for
the disposition of your collection.
• Insurance. Record documentary
evidence of ownership in the event of
loss or damage.
THE UNITED STATES
MINT
For sixteen years following the
Declaration of Independence, this country
still relied upon British and other foreign
coinage. This was not only unsatisfactory
but objectionable to many citizens, as
Britain’s coins bore the likeness of the
not-too-popular George III. In 1791
Congress approved the establishment of a
federal Mint. Presses for milling were
purchased, designers and die cutters hired.
But the question remained whether to
fashion U.S. coinage after Britain’s or
devise an entirely new series with
different denominations. After much
debate the latter plan was adopted, with
the dollar (named for Thalers of the
Dutch, who were not our enemies) as the
chief currency unit and our coinage based
upon divisions or multiples of it. The
metal standard was fixed at 15 parts silver
to one part gold. When finalized on April
2, 1792, the Mint Act provided for coins
in values of $10, $5, $2.50, $1, 50¢, 25¢,
10¢, 5¢, 1¢, and ½¢. The 1¢ and ½¢ were
of copper; other denominations, up to $1,
silver; those over $1, gold. The $5 piece
was regarded as the equivalent to
Britain’s pound sterling, the 25¢ to the
British shilling, while the ½¢ was the
counterpart to Britain’s farthing or
“fourthling” (¼ part of a British penny). It
may seem odd that necessity was felt for a
coin valued under one cent, but at this
remote period even the penny had
considerable buying power and fractional
pricing of goods was common—apples at
1¢ each or 5½ ¢ per half dozen, for
example. If such a coin was not available,
the situation would have invited an
onslaught of merchant tokens.
Philadelphia was selected as home for
the first Mint building, whose cornerstone
was laid July 21, 1792. George
Washington, then serving as president,
contributed silverware from which the
first federal coins were struck—a few half
dimes or half dismes as they were called
(5¢ pieces). Proceeding cautiously, the
Mint’s first purchase of metal was six
pounds of copper. This was used for cents
and half cents, delivered to the Treasurer
of the United States in 1793. The
following year a deposit of $80,715.73½
worth of French silver coins was made to
the Mint by the state of Maryland, to be
melted down and used for coinage. They
yielded a quantity of 1794-dated dollars
and half dollars. Gold was not obtained
until 1795 when a Boston merchant turned
over $2,276.72 in ingots, which were
quickly transformed (apparently along
with gold from other sources) into 744
Half Eagles ($5 pieces). Later that year
400 Eagles ($10) were produced. By the
close of the year 1800 the Mint had milled
$2,534,000 worth of coins and succeeded
in distributing them throughout the then-
inhabited regions of the country, as far
west as Michigan and Missouri.
HOW U.S. COINS ARE
MINTED
THE COIN ALLOY CONTENT
In the coinage process, the first step is
to prepare the alloy to be used. Except for
nickels and 1-cent pieces, the alloys
formerly (1964 and earlier) used in the
coining of U.S. coins were as follows:
Silver coins—90% silver and 10%
copper
5-cent pieces—75% copper and 25%
nickel
1-cent pieces—95% copper and 5%
zinc
The cents of 1943 consisted of steel
coated with zinc; and the nickels of 1942–
45 consisted of 35% silver, 56% copper,
and 9% manganese. In 1982 the cent was
changed to a zinc interior with copper
coating.
WHAT ARE THE NEW CLAD COINS
MADE OF?
1971 to date—cupro-nickel dollars and
half dollars
1965 to date—quarters and dimes: the
outer surfaces are 75% copper and
25% nickel, and the inner core is
100% copper
1965–70—half dollars: the outer
surface is 80% silver and 20%
copper; the inner core is 21% silver
and 79% copper; the overall silver
content of the coin is 40%
When clad coinage was introduced in
1965, the designs then in use were
retained: the Roosevelt dime, Washington
quarter, and Kennedy half. (The United
States was not at that time minting dollar
coins.) The only alteration since then was
for the special 1976 bicentennial designs.
Because of the ever-increasing demand
for coinage, the Mint introduced new
time-saving steps in its coin minting. Raw
metal is cast into giant ingots eighteen feet
long, sixteen inches wide, and six inches
thick, weighing 6,600 pounds. Previously,
they had weighed 400 pounds and were
sixteen times smaller in measurement. The
ingot is rolled red hot and scaled to
remove imperfections. It’s then ready for
the coins to be stamped; no longer are
blanks made and annealed (heated). The
excess metal that’s left behind is used to
make new ingots in a continuous, neverending process. The new coins are
electronically scanned, counted, and
automatically bagged. These facilities are
in use at the new, ultra-modern Mint in
Philadelphia. It has a production capacity
of eight billion coins per year and is open
to the public, featuring interesting displays
and guided tours.
HOW PROOF COINS ARE MINTED
1. Perfect planchets are picked out.
2. They are washed with a solution of
cream of tartar.
3. They are washed again and alcohol
dipped.
4. The dies for making proof coins receive
a special polishing for mirrorlike
finish.
5. The planchets are then milled.
6. The coins are minted by special
hydraulic presses at a much slower rate
than regular coins. The fine lines are
much more visible on a proof coin.
Minting: From Metal to
Coins
© 1965 by The New York Times Company. Reprinted
by permission.
MINT MARKS
HISTORY OF MINT MARKS
(Courtesy of Coin World)
A mint mark on a United States coin is a
small letter (or letters) placed on the field
(the flat, featureless areas surrounding the
designs and lettering) of the coin to show
which Mint manufactured it. (Mint marks
appear on either the obverse or reverse.)
Mint marks have been used for almost as
long as coins have been struck.
From 1793 to 1838, the only U.S. Mint
in operation was located at Philadelphia;
thus, there was no need to distinguish it by
a mint mark. That changed when three
Branch Mints were authorized by the Act
of March 3, 1835: in Charlotte, NC;
Dahlonega, GA; and New Orleans, LA.
In order to distinguish which Mint
struck a particular coin, mint marks were
introduced on coins struck at the Branch
Mints. The Philadelphia Mint, however,
continued to strike coins without mint
marks.
As new Branch Mints were authorized
and opened, new mint marks were
introduced. There have been eight
different mint marks used since the United
States began striking coins in 1792.
With one four-year exception, U.S.
coins struck at the Philadelphia Mint bore
no mint marks until 1979. A P mint mark
was used on the Jefferson, Wartime 5-cent
coins, struck from 1942 to 1945 in a silver
alloy. The P mint mark on these issues
was designed to distinguish the silver
alloy issues from regular copper-nickel 5cent coins.
In most cases, the mint marks were
applied to the reverse sides of U.S. coins
until 1968. There are a few exceptions,
however, including 1838-O Capped Bust
half dollars and 1916-D and 1916-S
Walking Liberty half dollars.
Mint marks have not always been used,
even at the Branch Mints. The Coinage
Act of 1965, which authorized the
replacement of silver coinage with
copper-nickel clad coinage, also
approved the dropping of mint marks.
Mint marks were not used on coins dated
1965 through 1967. The move was
designed to help alleviate a coin shortage
by removing the distinction between coins
struck at Branch Mints and those struck in
Philadelphia so collectors could not
determine which were the more limited
strikes.
With the announcement on January 4,
1968, that mint marks would return to
coins, Mint Director Eva Adams made a
major change in mint mark application. To
achieve uniformity, she directed that all
mint marks be placed on the obverse. She
continued the practice of not placing mint
marks on coins struck at the Philadelphia
Mint.
A coining facility was opened at the
West Point Silver Bullion Depository in
1975, initially to strike cents (and in later
years, quarter dollars). These coins are
indistinguishable from Philadelphia Mint
coins, since they bear no mint mark.
At the same time (mid-1970s into the
1980s), some coins struck at the San
Francisco Assay Office were produced
without mint marks, primarily to prevent
collectors from hoarding the S mint coins.
Major changes were made in mint mark
policy beginning in 1979. Anthony dollars
struck at the Philadelphia Mint were given
a P mint mark. The list of coins to bear the
P mint mark grew in 1980, when all other
Philadelphia denominations but the 1-cent
coin received the new mint mark.
A new mint mark, “W,” was belatedly
established in September 1983, when the
West Point Bullion Depository (now the
West Point Mint) began striking 1984dated $10 Gold Eagles commemorating
the Los Angeles Olympic Games. As
noted, the West Point facility had been
striking coins for circulation without mint
marks. Production of circulating coinage
(strictly cents by this time) at West Point
continued without the addition of a W mint
mark.
The W mint mark has been used on
various commemorative and bullion coins
since then, as well as a 1996-W
Roosevelt dime included in the 1996
Uncirculated
Mint
set
as
a
commemoration of the 50th anniversary of
the design. However, no coins struck for
circulation have borne a W mint mark.
WHY ARE MINT MARKS
IMPORTANT?
Collectors determine a coin’s value by
examining its date, mint mark, and
condition. The most important criterion in
determining a coin’s value is its condition.
However, determining the Mint that struck
the coin is extremely important in arriving
at its value. That’s because the coin may
be struck in large quantities at one Mint
and very small quantities at another.
Consider the 1914 and 1914-D Lincoln
cents: more than 75 million examples
were struck at Philadelphia (with no mint
mark) but only 1.193 million have a little
D mark below its date.
MINT MARKS TODAY
Let’s examine our current pocket
change or coins that collectors may find in
today’s circulating coinage.
Lincoln cents, 1909–96, have used two
mint marks (but have been struck at four
Mints). Collectors will find a little “D”
for the Denver Mint or “S” for the San
Francisco Mint, located directly beneath
the date.
Jefferson 5-cent coins, 1938–96, have
used three mint marks, in three different
locations. Denver and San Francisco
coins struck from 1938–42, and from
1946–64, feature the D or S on the
reverse, to the right of the representation
of Monticello. The mint marks were
enlarged and moved to above the dome of
Monticello on the wartime alloy coins of
1942–45, and as noted, a P mint mark was
used for the first time. The D and S mint
marks have appeared on the obverse, just
below the last numeral of the date, since
1968, and the P mint mark has appeared in
the same location since 1980.
Roosevelt dimes, 1946–96, have used
four mint marks since their introduction.
The Denver and San Francisco dimes of
1946–64 bear a D or S mint mark on the
reverse, to the lower left of the torch. The
mint mark was moved to the obverse in
1968, to just above the last numeral in the
date, where it remains today. The P was
added in 1980, and the W was used on
special 1996-W dimes sold to collectors.
Washington quarter dollars, 1932–96,
have used three mint marks. Denver and
San Francisco quarters struck from 1932–
64 bear the D or S mint mark on the
reverse, between the wreath and the
denomination QUARTER DOLLAR. The mint
marks were moved to the obverse in 1968,
to behind Washington’s queue. The P was
added in 1980.
Kennedy half dollars, 1964–96, have
used three mint marks. A D mint mark was
used on the reverse of Denver Mint coins
in 1964, just above the L in HALF. It’s the
only such Kennedy half dollar to bear a
mint mark on the reverse. The D and S
mint marks were moved to the obverse in
1968, right below the bust of Kennedy and
above the date on the obverse side of the
coin. The P was added in 1980.
MINTS AND THEIR MINT MARKS
By separate Acts of Congress, the
government has established Mints in
different parts of the country.
1
. “P”
PHILADELPHIA,
Pennsylvania—1973 to date—
No mint mark. Until 1973, coins
minted at Philadelphia did not
carry mint marks, except for the
silver-content nickels of 1942–
45.
2 . “C”
CHARLOTTE, North
Carolina—gold coins only,
1838–61.
3 . “CC” CARSON CITY, Nevada—
1870–93.
4. “D” DAHLONEGA, Georgia—gold
coins only, 1838–61.
5. “D” DENVER, Colorado—1906 to
date.
6. “O” NEW ORLEANS, Louisiana—
1838–61 and 1879–1909.
7 . “S”
SAN FRANCISCO,
California—1854–1955
and
1968 to date.
8 . “W”
WEST POINT, New York —
1976 to date, used for special
issues only.
ABOUT THE PRICES IN
THIS BOOK
Prices shown in this book represent the
current retail selling prices at press time.
In the first column of each listing, a
current average buying price is also
indicated. This is the price at which coin
dealers are buying from the public.
Readers should understand that the actual
prices charged or paid by any given
dealer (there are more than 12,000 coin
dealers in the United States) can vary
somewhat. Higher grade coins will
usually command a higher price based on
a percentage of the value listed for the
particular grade. Additional factors that
will also affect what a dealer is willing to
pay for a coin are: 1) how many other
coins like yours the dealer has in his
inventory; 2) how long it will take for the
dealer to sell your coin; 3) whether or not
the dealer is buying your coin for his own
investment; 4) the rarity of the date or mint
mark of your coin. Hence, the Blackbook
is presented merely as a guide to the
average buying and selling prices.
Prices are shown for each coin in
various condition grades. It is of utmost
importance that a coin be accurately
graded before a value can be placed on it.
So-called slider grades, such as MS-62,
are not included in this book because of
space limitations and the difficulties of
gathering reliable information on their
values. Nor are split grade coins included
(such as AU-55/MS-60), but with some
simple mathematics their values can be
estimated, based on the prices shown.
When a price is omitted, there is not
enough reliable pricing information
available. This is usually because the
coin, in that particular condition grade, is
seldom sold publicly. However, this
should not lead to the assumption that all
such coins are more valuable than those
for which prices are indicated. This is not
necessarily the case.
For some scarce coins that are not
regularly sold, an example will be given
of a specific auction sale result, along
with the year in which the sale occurred.
These are given purely in the interest of
supplying some
tangible
pricing
information, but may not (especially in the
case of older prices) accurately reflect the
price that would be obtained for the same
coin if sold today.
When a coin is said to be “unique,” this
indicates that only one single specimen is
recorded to exist. It does not preclude the
possibility that other specimens, which
have escaped the notice of numismatists,
might exist.
Prices are given for the major or
traditionally acknowledged die varieties,
for coins on which die varieties occurred.
Many additional die varieties will be
noticed in dealers’ and auctioneers’
literature. The collector status of many of
these “minor” die varieties—that is,
whether they deserve to be recognized as
separate varieties—is a point on which no
general agreement has been, or is likely to
be, reached. It is important, however, to
note, whether discussing major or minor
die varieties, that the market values of
such coins are not automatically higher
than those of the normal die type. Nor can
it always be assumed that the variety is
scarcer than the normal die type.
However, make no mistake about it; many
of these varieties do carry substantial
premiums.
In the case of common date silver and
gold coins of the late 19th and 20th
centuries, it must be borne in mind that the
values (for buying or selling) are
influenced by the current value of the
metal they contain. Most coin shops
display the current “spot” prices for silver
and gold bullion.
HOW TO USE THIS BOOK
Listings are provided in this book for
all coins of the U.S. Mint plus colonial
coins and several other groups of coins
(please consult index).
Each listing carries the following
information:
Denomination of coin.
Date (this is the date appearing on the
coin, which is not necessarily the year in
which it was actually manufactured).
Mintage (quantity manufactured by the
Mint). In some cases this information is
not available. In others, the totals
announced by the Mint may not be entirely
accurate. This is particularly true of coins
dating before 1830.
Average Buying Price (A.B.P.). This
is the price at which dealers are buying
the coin in the first condition grade listed.
Buying prices can vary somewhat from
one dealer to another.
Current Retail Value. In various
grades of condition, the price columns
following the A.B.P. (or Average Buying
Price) show retail prices being charged by
dealers. Prices for each coin are given in
various grades of condition. Check the
column head, then refer to the grading
guide if you have any doubt about the
condition of your coin. Be sure you have
correctly identified your coin and its
condition. If the date is missing from your
coin, it qualifies only as a “type filler”
(that is, a “type” coin in low-grade
condition), and its value will be lower
than the price shown for a coin of that
series.
OFFICIAL ANA GRADING
SYSTEM
The descriptions of coin grades given
in this book are intended for use in
determining the relative condition of coins
in various states of preservation. The
terms and standards are based on the
commonly accepted practices of
experienced dealers and collectors. Use
of these standards is recommended by the
American Numismatic Association to
avoid
misunderstandings
during
transaction, cataloging, and advertising.
The method of grading described in this
book should be referred to as the Official
ANA Grading System. When grading by
these standards, care must be taken to
adhere to the standard wording,
abbreviations, and numbers used in this
text.
When a coin first begins to show signs
of handling, abrasion, or light wear, only
the highest parts of the design are affected.
Evidence that such a coin is not
Uncirculated can be seen by carefully
examining the high spots for signs of a
slight change in color, surface texture, or
sharpness of fine details.
In early stages of wear the highest
points of design become slightly rounded
or flattened, and the very fine details
begin to merge together in small spots.
After a coin has been in circulation for
a short time, the entire design and surface
will show light wear. Many of the high
parts will lose their sharpness, and most
of the original mint luster will begin to
wear, except in recessed areas.
Further circulation will reduce the
sharpness and relief of the entire design.
High points then begin to merge with the
next lower parts of the design.
After the protective rim is worn away
the entire surface becomes flat, and most
of the details blend together or become
partially merged with the surface.
It should be understood that because of
the nature of the minting process, some
coins will be found that do not conform
exactly with the standard definitions of
wear as given in this text. Specific points
of wear may vary slightly. Information
given in the notes at the end of some
sections does not cover all exceptions, but
is a guide to the most frequently
encountered varieties.
Also, the amount of mint luster (for the
highest several grades) is intended more
as a visual guide than as a fixed quantity.
The percentage of visible mint luster
described in the text is the minimum
allowance amount, and a higher
percentage can usually be expected. Luster
is not always brilliant and may be evident,
although sometimes dull or discolored.
A Choice coin in any condition is one
with an attractive, above average surface
relatively free from nicks or bag marks. A
Typical coin may have more noticeable
minor surface blemishes.
In all cases, a coin in lower condition
must be assumed to include all the wear
features of the next higher grade in
addition to its own distinguishing points of
wear.
Remarks concerning the visibility of
certain features refer to the maximum
allowable amount of wear for those
features.
Note: The official ANA Grading
System used in this book is with the
permission of the American Numismatic
Association.
RECORD KEEPING
For your convenience, we suggest you
use the following record-keeping system
to note condition of your coin in the
checklist box.
GRADING ABBREVIATIONS
Corresponding numbers may be used
with any of these descriptions.
PROOF COINS
The mirrorlike surface of a brilliant
proof coin is much more susceptible to
damage than are the surfaces of an
Uncirculated coin. For this reason, proof
coins that have been cleaned often show a
series of fine hairlines or minute
striations. (It should be noted that, when
collecting coins, under no circumstances
should any effort be made to clean coins.
Their value is likely to be reduced by such
an attempt.) Also, careless handling has
resulted in certain proofs acquiring marks,
nicks, and scratches.
Some proofs, particularly 19th-century
issues, have “lint marks.” When a proof
die was wiped with an oily rag,
sometimes threads, bits of hair, lint, and
so on would remain. When a coin was
struck from such a die, an incuse or
recessed impression of the debris would
appear on the piece. Lint marks visible to
the unaided eye should be specifically
mentioned in a description.
Proofs are divided into the following
classifications:
Proof-70 (Perfect Proof). A Proof-70
or Perfect Proof is a coin with no
hairlines, handling marks, or other defects
—in other words, a flawless coin. Such a
coin may be brilliant or may have natural
toning.
Proof-65 (Choice Proof). Proof-65 or
Choice Proof refers to a proof that may
show some fine hairlines, usually from
friction-type cleaning or friction-type
drying or rubbing after dipping. To the
unaided eye, a Proof-65 or a Choice Proof
will appear to be virtually perfect.
However, 5 magnification will reveal
some minute lines. Such hairlines are best
seen under strong incandescent light.
Proof-60 (Proof). Proof-60 refers to a
proof with some scattered handling marks
and hairlines that will be visible to the
unaided eye.
Impaired Proofs; Other Comments. If
a proof has been excessively cleaned, has
any marks, scratches, dents, or other
defects, it is described as an impaired
proof. If the coin has seen extensive wear,
then it will be graded one of the lesser
grades—Proof-55, Proof-45, or whatever.
It is not logical to describe a slightly worn
proof as AU (Almost Uncirculated) for it
never was “Uncirculated” to begin with,
in the sense that Uncirculated describes a
top-grade normal production strike. So,
the term Impaired Proof is appropriate. It
is best to describe fully such a coin,
examples being: “Proof with extensive
hairlines and scuffing,” or “Proof with
numerous nicks and scratches in the field,”
or “Proof-55, with light wear on the
higher surfaces.”
UNCIRCULATED COINS
The
term
“Uncirculated,”
interchangeable with “Mint State,” refers
to a coin that has never seen circulation.
Such a piece has no wear of any kind. A
coin as bright as the time it was minted or
with very light natural toning can be
described as “Brilliant Uncirculated.” A
coin that has natural toning can be
described as “Toned Circulated.” Except
in the instance of copper coins, the
presence or absence of light toning does
not affect an Uncirculated coin’s grade.
Indeed, among silver coins, attractive
natural toning often results in the coin
bringing a premium price.
The quality of luster or “mint bloom”
on an Uncirculated coin is an essential
element in correctly grading the piece and
has a bearing on its value. Luster may in
time become dull, frosty, spotted, or
discolored. Unattractive luster will
normally lower the grade.
With the exception of certain Special
Mint Sets made in recent years for
collectors, Uncirculated or normal
production strike coins were produced on
high-speed presses, stored in bags
together with other coins, run through
counting machines, and in other ways
handled without regard to numismatic
posterity. As a result, it is the rule and not
the exception for an Uncirculated coin to
have bag marks and evidence of coin-tocoin contact, although the piece might not
have seen actual commercial circulation.
The amount of such marks will depend
upon the coin’s size. Differences in
criteria in this regard are given in the
individual sections under grading
descriptions for different denominations
and types.
Uncirculated coins can be divided into
three major categories:
MS-70 (Perfect Uncirculated). MS-70
or Perfect Uncirculated is the finest
quality available. Such a coin under 4 ×
magnification will show no bag marks,
lines, or other evidence of handling or
contact with other coins.
A brilliant coin may be described as
“MS-70 Brilliant” or “Perfect Brilliant
Uncirculated.” A lightly toned nickel or
silver coin may be described as “MS-70
Toned” or “Perfect Toned Uncirculated.”
Or, in the case of particularly attractive or
unusual toning, additional adjectives may
be in order such as “Perfect Uncirculated
with Attractive Iridescent Toning Around
the Borders.”
Copper and bronze coins: To qualify as
MS-70 or Perfect Uncirculated, a copper
or bronze coin must have its full luster and
natural surface color, and may not be
toned brown, olive, or any other color.
(Coins with toned surfaces that are
otherwise perfect should be described as
MS-65, as the following text indicates.)
MS-65 (Choice Uncirculated). This
refers to an above average Uncirculated
coin that may be brilliant or toned (and
described accordingly) and that has fewer
bag marks than usual, scattered occasional
bag marks on the surface, or perhaps one
or two very light rim marks.
MS-60 (Uncirculated). MS-60 or
Uncirculated
(typical
Uncirculated
without any other adjectives) refers to a
coin that has a moderate number of bag
marks on its surface. Also present may be
a few minor edge nicks and marks,
although not of a serious nature. Unusually
deep bag marks, nicks, and the like must
be described separately. A coin may be
either brilliant or toned.
Striking and Minting
Peculiarities on Uncirculated
Coins
Certain early U.S. gold and silver coins
have Mint-caused planchet or adjustment
marks, a series of parallel striations. If
these are visible to the naked eye, they
should be described adjectivally in
addition to the numerical or regular
descriptive grade: for example: “MS-60
with Adjustment Marks,” or “MS-65 with
Adjustment
Marks,”
or
“Perfect
Uncirculated with Very Light Adjustment
Marks,” or something similar.
If an Uncirculated coin exhibits
weakness due to striking or die wear, or
unusual (for the variety) die wear, this
must be adjectivally mentioned in addition
to the grade. Examples are: “MS-60
Lightly Struck,” “Choice Uncirculated
Lightly Struck,” and “MS-70 Lightly
Struck.”
CIRCULATED COINS
Once again, as a coin enters circulation
it begins to show signs of wear. As time
goes on the coin becomes more and more
worn until, after a period of many
decades, only a few features may be left.
Dr. William H. Sheldon devised a
numerical scale to indicate degrees of
wear. According to this scale, a coin in
Condition 1, or “Basal State,” is barely
recognizable. At the opposite end, a coin
touched by even the slightest trace of wear
(below MS-60) cannot be called
Uncirculated.
While numbers from 1 through 59 are
continuous, it has been found practical to
designate specific intermediate numbers to
define grades. Hence, this text uses the
following descriptions and their numerical
equivalents:
AU-55 (Choice About Uncirculated).
Only a small trace of wear is visible on
the highest points of the coin. As is the
case with the other grades here, specific
information is listed in the following text
under the various types, for wear often
occurs in different spots on different
designs.
AU-50 (About Uncirculated). With
traces of wear on nearly all of the highest
areas. At least half of the original mint
luster is present.
EF-45 (Choice Extremely Fine). With
light overall wear on the coin’s highest
points. All design details are very sharp.
Mint luster is usually seen only in
protected areas of the coin’s surface such
as between the star points and in the letter
spaces.
EF-40 (Extremely Fine). With only
slight wear but more extensive than the
preceding, still with excellent sharpness.
Traces of mint luster may still show.
VF-30 (Choice Very Fine). With light,
even wear on the surface; design details
on the highest points lightly worn, but with
all lettering and major features sharp.
VF-20 (Very Fine). As preceding but
with moderate wear on highest parts.
F-12 (Fine). Moderate to considerable
even wear. Entire design is bold. All
lettering, including the word LIBERTY (on
coins with this feature on the shield or
headband), visible, but with some
weaknesses.
VG-8 (Very Good). Well worn. Most
fine details such as hair strands, leaf
details, and so on are worn nearly smooth.
The word LIBERTY, if on a shield or
headband, is only partially visible.
G-4 (Good). Heavily worn. Major
designs visible, but with faintness in
areas. Head of Liberty, wreath, and other
major features visible in outline form
without center detail.
AG-3 (About Good). Very heavily
worn with portions of the lettering, date,
and legends being worn smooth. The date
barely readable.
Note: The exact descriptions of circulated
grades vary widely from issue to issue. It
is essential to refer to the specific text
when grading any coin.
SPLIT AND INTERMEDIATE
GRADES
It is often the case that because of the
peculiarities of striking or a coin’s design,
one side of the coin will grade differently
from the other. When this is the case, a
diagonal mark is used to separate the two.
For example, a coin with an AU-50
obverse and a Choice Extremely Fine-45
reverse can be described as AU/EF or,
alternately, 50/45.
The ANA standard numerical scale is
divided into the following steps: 3, 4, 8,
12, 20, 30, 40, 45, 50, 55, 60, 65, and 70.
Most advanced collectors and dealers find
that the gradations from AG-3 through
Choice AU-55 are sufficient to describe
nearly every coin showing wear. The use
of intermediate grade levels such as EF42, EF-43, and so on is not encouraged.
Grading is not that precise, and using such
finely split intermediate grades is
imparting a degree of accuracy that
probably will not be able to be verified
by other numismatists. As such, it is
discouraged.
A split or intermediate grade, such as
that between VF-30 and EF-40, should be
called Choice VF-35 rather than VF-EF or
About EF.
An exception to intermediate grades can
be found among Mint State coins, coins
grading from MS-60 through MS-70.
Among Mint State coins there are fewer
variables. Wear is not a factor; the
considerations are the amount of bag
marks and surface blemishes. While it is
good numismatic practice to adhere to the
numerical classifications of 60, 65, and
70, it is permissible to use intermediate
grades.
In all instances, the adjectival
description must be of the next lower
grade. For example, a standard grade
for a coin is MS-60 or Uncirculated
Typical. The next major category is MS65 or Uncirculated Choice. A coin that is
felt to grade, for example, MS-64, must
be described as “MS-64 Uncirculated
Typical.” It may not be described as
Choice Uncirculated, for the minimum
definition of Choice Uncirculated is MS65. Likewise, an MS-69 coin must be
described as MS-69 Uncirculated
Choice. It is not permissible to use
Uncirculated Perfect for any coin that is
any degree less than MS-70.
The ANA Grading System considers it
to be good numismatic practice to adhere
to the standard 60, 65, and 70 numerical
designations. Experienced numismatists
can generally agree on whether a given
coin is MS-60 or MS-65. However, not
even the most advanced numismatists can
necessarily agree on whether a coin is
MS-62 or MS-63; the distinction is simply
too minute to permit accuracy. In all
instances, it is recommended that
intermediate grades be avoided, and if
there is any doubt, the lowest standard
grade should be used. The use of plus or
minus signs is also not accepted practice.
SMALL CENTS—
INDIAN HEAD 1859–
1909
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance of light
toning. Any unusual die or planchet traits
must be described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemish.
Has full mint luster but may be unevenly
toned or lightly fingermarked. A few
barely noticeable nicks or marks may be
present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. May lack full mint luster,
and surface may be dull or spotted. Check
points for signs of abrasion: hair above
ear; curl to right of ribbon; bow knot.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: Only a trace of wear shows
on the hair above the ear.
REVERSE: A trace of wear shows on the
bow knot. Three-quarters of the mint
luster is still present.
AU-50 (About Uncirculated)
OBVERSE: Traces of wear show on the
hair above ear and curl to right of ribbon.
REVERSE: Traces of wear show on the
leaves and bow knot. Half of the mint
luster is still present.
EXTREMELY FINE (Very light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: Wear shows on hair above
ear, curl to right of ribbon, and on the
ribbon end. All of the diamond design and
letters in LIBERTY are very plain.
REVERSE: High points of the leaves and
bow are lightly worn. Traces of mint
luster still show.
EF-40 (Extremely Fine)
OBVERSE: Feathers well defined and
LIBERTY is bold. Wear shows on hair above
ear, curl to right of ribbon, and on the
ribbon end. Most of the diamond design
shows plainly.
REVERSE: High points of the leaves and
bow are worn.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: Small flat spots of wear on
tips of feathers, ribbons, and hair ends.
Hair still shows half of details. LIBERTY
slightly worn but all letters are sharp.
REVERSE: Leaves and bow worn but
fully detailed.
VF-20 (Very Fine)
OBVERSE:
Headdress
shows
considerable flatness. Nearly half of the
details still show in hair and on ribbon.
Head slightly worn but bold. LIBERTY is
worn but all letters are complete.
REVERSE: Leaves and bow are almost
fully detailed.
FINE (Moderate to heavy even wear.
Entire design clear and bold.)
F-12 (Fine)
OBVERSE: One-quarter of details show
in the hair. Ribbon is worn smooth. LIBERTY
shows clearly with no letters missing.
REVERSE: Some details visible in the
wreath and bow. Tops of leaves are worn
smooth.
VERY GOOD (Well worn. Design clear
but flat and lacking details.)
VG-8 (Very Good)
OBVERSE: Outline of feather ends shows
but some are smooth. Legend and date are
visible. At least three letters in LIBERTY
show clearly, but any combination of two
full letters and parts of two others are
sufficient.
REVERSE: Slight detail in wreath shows,
but the top is worn smooth. Very little
outline showing in the bow.
GOOD (Heavily worn. Design and
legend visible but faint in spots.)
G-4 (Good)
OBVERSE: Entire design well worn with
very little detail remaining. Legend and
date are weak but visible.
REVERSE: Wreath is worn flat but
completely outlined. Bow merges with
wreath.
ABOUT GOOD (Outlined design. Parts
of date and legend worn smooth.)
AG-3 (About Good)
OBVERSE: Head is outlined with nearly
all details worn away. Legend and date
readable but very weak and merging into
rim.
REVERSE: Entire design partially worn
away. Bow is merged with the wreath.
SMALL CENTS—
LINCOLN 1909 TO
DATE
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance of light
toning. Any unusual die or planchet traits
must be described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemish.
Has full mint luster but may be unevenly
toned or lightly fingermarked. A few
barely noticeable nicks or marks may be
present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. May lack full mint luster,
and surface may be dull or spotted. Check
points for signs of abrasion: high points of
cheek and jaw; tips of wheat stalks.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: Only a trace of wear shows
on the highest point of the jaw.
REVERSE: A trace of wear on the top of
wheat stalks. Almost all of the mint luster
is still present.
AU-50 (About Uncirculated)
OBVERSE: Traces of wear show on the
cheek and jaw.
REVERSE: Traces of wear show on the
wheat stalks. Three-quarters of the mint
luster is still present.
EXTREMELY FINE (Very light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: Slight wear shows on hair
above ear, on the cheek, and at the jaw.
REVERSE: High points of wheat stalks
are lightly worn, but each line is clearly
defined. Half of the mint luster still
shows.
EF-40 (Extremely Fine)
OBVERSE: Wear shows on hair above
ear, on the cheek, and on the jaw.
REVERSE: High points of wheat stalks
are worn, but each line is clearly defined.
Traces of mint luster still show.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: There are small flat spots of
wear on cheek and jaw. Hair still shows
details. Ear and bow tie slightly worn but
show clearly.
REVERSE: Lines in wheat stalks are
lightly worn but fully detailed.
VF-20 (Very Fine)
OBVERSE: Head shows considerable
flatness. Nearly all the details still show
in hair and on the face. Ear and bow tie
worn but bold.
REVERSE: Lines in wheat stalks are
worn but plain and without weak spots.
FINE (Moderate to heavy even wear.
Entire design clear and bold.)
F-12 (Fine)
OBVERSE: Some details show in the
hair. Cheek and jaw are worn nearly
smooth. LIBERTY shows clearly with no
letters missing. The ear and bow tie are
visible.
REVERSE: Most details are visible in the
stalks. Top wheat lines are worn but
separated.
VERY GOOD ( Well worn. Design clear
but flat and lacking details.)
VG-8 (Very Good)
OBVERSE: Outline of hair shows but
most details are smooth.
Cheek and jaw are smooth. More than half
of bow tie is visible.
Legend and date are clear.
REVERSE: Wheat shows some details
and about half of the lines at the top.
GOOD (Heavily worn. Design and
legend visible but faint in spots.)
G-4 (Good)
OBVERSE: Entire design well worn with
very little detail remaining. Legend and
date are weak but visible.
REVERSE: Wheat is worn nearly flat but
is completely outlined. Some grains are
visible.
ABOUT GOOD (Outlined design. Parts
of date and legend worn smooth.)
AG-3 (About Good)
OBVERSE: Head is outlined with nearly
all details worn away. Legend and date
readable but very weak and merging into
rim.
REVERSE: Entire design partially worn
away. Parts of wheat and motto merged
with the wreath.
Note: The Memorial cents from 1959 to
date can be graded by using the obverse
descriptions.
The following characteristic traits will
assist in grading but must not be confused
with actual wear on the coins:
Matte proof cents of 1909 through 1916
are often spotted or stained.
Branch Mint cents of the 1920s are
usually not as sharply struck as later dates.
Many of the early dates of Lincoln cents
are weakly struck either on the obverse or
the reverse, especially the following
dates: 1911D, 1914D, 1917D, 1918D,
1921, 1922D, 1923, 1924, 1927D, 1927S,
and 1929D.
1922 “plain” is weakly struck at the
head, has a small I and joined RT in
LIBERTY. Sometimes the wheat heads are
weak on the reverse.
1924D usually has a weak mint mark.
1931S is sometimes unevenly struck.
1936 proof cents: early strikes are less
brilliant than those made later that year.
1955 doubled die: hair details are less
sharp than most cents of the period.
NICKEL FIVE CENTS
—LIBERTY HEAD
1883–1912
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster but this may range from
brilliant to frosty. Any unusual die or
striking traits must be described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small weakness or
blemish. Has full mint luster but may be
unevenly toned, frosty, or lightly
fingermarked. A few barely noticeable
nicks or marks may be present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. May lack full mint luster,
and surface may be dull or spotted. Check
points for signs of abrasion: high points of
hair left of ear and at forehead, corn ears
at bottom of wreath.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: Only a trace of wear shows
on the highest points of hair left of ear.
REVERSE: A trace of wear shows on
corn ears. Half of the mint luster is still
present.
AU-50 (About Uncirculated)
OBVERSE: Traces of wear show on hair
left of ear and at forehead.
REVERSE: Traces of wear show on the
wreath and on corn ears. Part of the mint
luster is still present.
EXTREMELY FINE (Very light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: Slight wear shows on high
points of hair from forehead to the ear.
REVERSE: High points of wreath are
lightly worn. Lines in corn are clearly
defined. Traces of mint luster may still
show.
EF-40 (Extremely Fine)
OBVERSE: Wear shows on hair from
forehead to ear, on the cheek, and on
curls.
REVERSE: High points of wreath are
worn, but each line is clearly defined.
Corn shows some wear.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-20 (Choice Very Fine)
OBVERSE: Three-quarters of hair details
show. The coronet has full bold lettering.
REVERSE: Leaves are worn but most of
the ribs are visible.
Some of the lines in the corn are clear
unless weakly struck.
VF-20 (Very Fine)
OBVERSE: Over half the details still
show in hair and curls. Head worn but
bold. Every letter on coronet is plainly
visible.
REVERSE: Leaves are worn but some of
the ribs are visible. Most details in the
wreath are clear unless weakly struck.
FINE (Moderate to heavy even wear.
Entire design clear and bold.)
F-12 (Fine)
OBVERSE: Some details show in curls
and hair at top of head. All letters of
LIBERTY are visible.
REVERSE: Some details visible in
wreath. Letters in the motto are worn but
clear.
VERY GOOD (Well worn. Design clear
but flat and lacking details.)
VG-8 (Very Good)
OBVERSE: Bottom edge of coronet, and
most hair details, are worn smooth. At
least three letters in LIBERTY are clear. Rim
is complete.
REVERSE: Wreath shows only bold
outline. Some letters in the motto are very
weak. Rim is complete.
GOOD (Heavily worn. Design and
legend visible but faint in spots.)
G-4 (Good)
OBVERSE: Entire design well worn with
very little detail remaining. Stars and date
are weak but visible.
REVERSE: Wreath is worn flat and not
completely outlined. Legend and motto are
worn nearly smooth.
ABOUT GOOD (Outlined design. Parts
of date and legend worn smooth.)
AG-3 (About Good)
OBVERSE: Head is outlined with nearly
all details worn away. Date readable but
very weak and merging into rim.
REVERSE: Entire design partially worn
away.
Note: The 1912D, 1912S and 1883 “no
cents” variety are often weakly struck.
NICKEL FIVE CENTS
—BUFFALO 1913–
1938
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster. Any unusual die or
striking traits must be described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small weakness or
blemish. Has full mint luster but may be
unevenly toned or lightly fingermarked. A
few barely noticeable nicks or marks may
be present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. May lack full mint luster
and surface may be dull or spotted. Check
points for signs of abrasion: high points of
Indian’s cheek; upper front leg, hip, tip of
tail. Shallow or weak spots in the relief
are usually caused by improper striking
and not wear.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: Only a trace of wear shows
on high point of cheek.
REVERSE: A trace of wear shows on the
hip. Half of the mint luster is still present.
AU-50 (About Uncirculated)
OBVERSE: Traces of wear show on hair
above and to left of forehead, and at the
cheekbone.
REVERSE: Traces of wear show on tail,
hip, and hair above and around the horn.
Traces of mint luster still show.
EXTREMELY FINE (Very light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: Slight wear shows on the hair
above the braid. There is a trace of wear
on the temple and hair near cheekbone.
REVERSE: High points of hip and thigh
are lightly worn. The horn and tip of tail
are sharp and nearly complete.
EF-40 (Extremely Fine)
OBVERSE: Hair and face are lightly
worn but well defined and bold. Slight
wear shows on lines of hair braid.
REVERSE: Horn and end of tail are worn
but all details are visible.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: Hair shows nearly full
details. Feathers and braid are worn but
sharp.
REVERSE: Head, front leg, and hip are
worn. Tail shows plainly. Horn is worn
but full.
VF-20 (Very Fine)
OBVERSE: Hair and cheek show
considerable flatness, but all details are
clear. Feathers still show partial detail.
REVERSE: Hair on head is worn. Tail
and point of horn are visible.
FINE (Moderate to considerable even
wear. Entire design clear and bold.)
F-12 (Fine)
OBVERSE: Three-quarters of details
show in hair and braid. LIBERTY is plain but
merging with rim.
REVERSE: Major details visible along
the back. Horn and tail are smooth but
three-quarters visible.
VERY GOOD (Well worn. Design clear
but flat and lacking details.)
VG-8 (Very Good)
OBVERSE: Outline of hair is visible at
temple and near cheekbone. LIBERTY merges
with rim. Date is clear.
REVERSE: Some detail shows in head.
Lettering is all clear. Horn is worn nearly
flat but is partially visible.
GOOD (Heavily worn. Design and
legend visible but faint in spots.)
G-4 (Good)
OBVERSE: Entire design well worn with
very little detail remaining in central part.
LIBERTY is weak and merged with rim.
REVERSE: Buffalo is nearly flat but is
well outlined. Horn does not show.
Legend is weak but readable. Rim worn to
tops of letters.
ABOUT GOOD (Outlined design. Parts
of date and legend worn smooth.)
AG-3 (About Good)
OBVERSE: Design is outlined with nearly
all details worn away. Date and motto
partially readable but very weak and
merging into rim.
REVERSE: Entire design partially worn
away. Rim is merged with the letters.
Note: Buffalo nickels were often weakly
struck and lack details even on
Uncirculated specimens. The following
dates are usually unevenly struck with
weak spots in the details:
1913S I and II, 1917D, 1917S, 1918D,
1918S, 1919S, 1920D, 1920S, 1921S,
1923S, 1924D, 1924S, 1925D, 1925S,
1926D, 1926S, 1927D, 1927S, 1928D,
1928S, 1929D, 1931S, 1934D, and
1935D.
1913 through 1916 matte proof coins
are sometimes spotted or stained.
NICKEL FIVE CENTS
—JEFFERSON 1938
TO DATE
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance. Any unusual
striking or planchet traits must be
described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small weakness or
blemish. Has full mint luster but may be
unevenly toned or lightly fingermarked. A
few barely noticeable nicks or marks may
be present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with weaknesses and
blemishes more obvious than for MS-65.
May lack full mint luster, and surface may
be dull or spotted. Check points for signs
of abrasion: cheekbone and high points of
hair, triangular roof above pillars.
Shallow or weak spots in the relief,
particularly in the steps below pillars, are
usually caused by improper striking and
not wear.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: Only a trace of wear shows
on cheekbone.
REVERSE: A trace of wear shows on the
beam above pillars. Three-quarters of the
mint luster is still present.
AU-50 (About Uncirculated)
OBVERSE: Traces of wear show on
cheekbone and high points of hair.
REVERSE: Traces of wear show on the
beam and triangular roof above pillars.
Half of the mint luster is still present.
EXTREMELY FINE (Very light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: Slight wear shows on
cheekbone and central portion of hair.
There is a trace of wear at bottom of the
bust.
REVERSE: High points of the triangular
roof and beam are lightly worn. Traces of
mint luster still show.
EF-40 (Extremely Fine)
OBVERSE: Hair is lightly worn but well
defined and bold. Slight wear shows on
cheekbone and bottom of the bust. High
points of hair are worn but show all
details.
REVERSE: Triangular roof and beam are
worn but all details are visible.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: Hair worn but shows nearly
full details. Cheek line and bottom of bust
are worn but sharp.
REVERSE: Triangular roof and beam
worn nearly flat. Most of the pillar lines
show plainly.
VF-20 (Very Fine)
OBVERSE:
Cheek
line
shows
considerable flatness. Over half the
hairlines are clear. Parts of the details
still show in collar.
REVERSE: Pillars are worn but clearly
defined. Triangular roof is partially
visible.
FINE (Moderate to heavy even wear.
Entire design clear and bold.)
F-12 (Fine)
OBVERSE: Some details show in hair
around face. Cheek line and collar plain
but very weak.
REVERSE: Some details visible in
pillars. Triangular roof is very smooth and
indistinct.
VERY GOOD (Well worn. Design clear
but flat and lacking details.)
VG-8 (Very Good)
OBVERSE: Cheek line is visible but parts
are worn smooth. Collar is weak but
visible. Only a few hairlines show
separations.
REVERSE: Slight details show throughout
building. The arch is worn away. Pillars
are weak but visible.
GOOD (Heavily worn. Design and
legend visible but faint in spots.)
G-4 (Good)
OBVERSE: Entire design well worn with
very little detail remaining. Motto is weak
and merged with rim.
REVERSE: Building is nearly flat but is
well outlined. Pillars are worn flat. Rim
worn to tops of letters.
ABOUT GOOD (Outlined design. Parts
of date and legend worn smooth.)
AG-3 (About Good)
OBVERSE: Design is outlined with nearly
all details worn away. Date and legend
readable but very weak and merging into
rim.
REVERSE: Entire design partially worn
away. Rim is merged with the letters.
Note: Jefferson nickels are frequently seen
weakly struck, and with the horizontal step
lines joined even on Uncirculated
specimens. Many of the 1950 and 1955
nickels are unevenly struck with weak
spots in the details.
DIMES—BARBER
1892–1916
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance or light
toning. Any unusual die or striking traits
must be described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemish.
Has full mint luster but may be unevenly
toned or lightly fingermarked. A few
barely noticeable nicks or marks may be
present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. May lack full mint luster,
and surface may be dull, spotted, or
heavily toned. Check points for signs of
abrasion: high points of cheek and hair
below LIBERTY; ribbon bow and tips of
leaves.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: Only a trace of wear shows
on highest points of hair below LIBERTY.
REVERSE: A trace of wear shows on
ribbon bow, wheat grains, and leaf near
O. Three-quarters of the mint luster is still
present.
AU-50 (About Uncirculated)
OBVERSE: Traces of wear show on
cheek, top of forehead, and hair below
LIBERTY.
REVERSE: Traces of wear show on
ribbon bow, wheat grains, and tips of
leaves. Half of the mint luster is still
present.
EXTREMELY FINE (Very light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: Slight wear shows on high
points of upper leaves, cheek, and hair
above forehead. LIBERTY is sharp and band
edges are bold.
REVERSE: High points of the wreath and
bow lightly worn. Lines in leaves are
clearly defined. Part of the mint luster is
still present.
EF-40 (Extremely Fine)
OBVERSE: Light wear shows on leaves,
cheek, cap, and hair above forehead.
LIBERTY is sharp and band edges are clear.
REVERSE: High points of wreath and
bow are worn, but all details are clearly
defined. Traces of mint luster may still
show.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: Wear spots show on leaves,
cap, hair, and cheek. Bottom row of
leaves is weak but has some visible
details. LIBERTY and band are complete.
REVERSE: Wear shows on the two
bottom leaves but most details are visible.
Nearly all the details in the ribbon bow
and corn kernels are clear.
VF-20 (Very Fine)
OBVERSE: Over half the details still
show in leaves. Hair worn but bold.
Every letter in LIBERTY is visible.
REVERSE: The ribbon is worn, but some
details are visible. Half the details in
leaves are clear. Bottom leaves and upper
stalks show wear spots.
FINE (Moderate to heavy even wear.
Entire design clear and bold.)
F-12 (Fine)
OBVERSE: Some details show in hair,
cap, and facial features. All letters in
LIBERTY are weak but visible. Upper row of
leaves is outlined, but bottom row is worn
smooth.
REVERSE: Some details in the lower leaf
clusters are plainly visible. Bow is
outlined but flat. Letters in legend are
worn but clear.
VERY GOOD (Well worn. Design clear
but flat and lacking details.)
VG-8 (Very Good)
OBVERSE: Entire head weak, and most
of the details in the face are worn smooth.
Three letters in LIBERTY are clear. Rim is
complete.
REVERSE: Wreath shows only a small
amount of detail. Corn and grain are flat.
Some of the bow is very weak.
GOOD (Heavily worn. Design and
legend visible but faint in spots.)
G-4 (Good)
OBVERSE: Entire design well worn with
very little detail remaining. Legend is
weak but visible. LIBERTY is worn away.
REVERSE: Wreath is worn flat but is
completely outlined. Corn and grains are
worn nearly smooth.
ABOUT GOOD (Outlined design. Parts
of date and legend worn smooth.)
AG-3 (About Good)
OBVERSE: Head is outlined with nearly
all details worn away. Date readable but
partially worn away. Legend merging into
rim.
REVERSE: Entire wreath partially worn
away and merging into rim.
DIMES—MERCURY
1916–1945
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance or light
toning. Any unusual die or striking traits
must be described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemish.
Has full mint luster but may be unevenly
toned or lightly fingermarked. A few
barely noticeable nicks or marks may be
present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. May lack full mint luster,
and surface may be dull, spotted, or
heavily toned. Check points for signs of
abrasion: high points of hair and in front
of ear, diagonal bands on fasces.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: Only a trace of wear shows
on highest points of hair above forehead
and in front of ear.
REVERSE: A trace of wear shows on the
horizontal and diagonal fasces bands.
Three-quarters of the mint luster is still
present.
AU-50 (About Uncirculated)
OBVERSE: Traces of wear show on hair
along face, above forehead, and in front of
ear.
REVERSE: Traces of wear show on the
fasces bands but edges are sharply
defined. Half of the mint luster is still
present.
EXTREMELY FINE (Very light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: Slight wear shows on high
points of feathers and at hair line. Hair
along face is sharp and detailed.
REVERSE: High points of the diagonal
fasces bands are lightly worn. Horizontal
lines are clearly defined but not fully
separated. Part of the mint luster is still
present.
EF-40 (Extremely Fine)
OBVERSE: Wear shows on high points of
feathers, hair, and at neck line.
REVERSE: High points of fasces bands
are worn, but all details are clearly
defined and partially separated. Traces of
mint luster may still show.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: Wear spots on hair along
face, cheek, and neck line. Feathers are
weak but have nearly full details.
REVERSE: Wear shows on the two
diagonal bands but most details are
visible. All vertical lines are sharp. All
details in the branch are clear.
VF-20 (Very Fine)
OBVERSE: Three-quarters of the details
still show in feathers. Hair worn but bold.
Some details in hair braid are visible.
REVERSE: Wear shows on the two
diagonal bands but most details are
visible. All vertical lines are sharp. All
details in the branch are clear.
FINE (Moderate to considerable even
wear. Entire design clear and bold.)
F-12 (Fine)
OBVERSE: Some details show in hair.
All feathers are weak but partially visible.
Hair braid is nearly worn away.
REVERSE: Vertical lines are all visible
but lack sharpness. Diagonal bands show
on fasces but one is worn smooth at
midpoint.
VERY GOOD (Well worn. Design clear
but flat and lacking details.)
VG-8 (Very Good)
OBVERSE: Entire head is weak, and most
details in the wing are worn smooth. All
letters and date are clear. Rim is
complete.
REVERSE: About half the vertical lines
in the fasces are visible. Rim is complete.
GOOD (Heavily worn. Design and
legend visible but faint in spots.)
G-4 (Good)
OBVERSE: Entire design well worn with
very little detail remaining. Legend and
date are weak but visible. Rim is visible.
REVERSE: Fasces is worn nearly flat but
is completely outlined. Sticks and bands
are worn smooth.
ABOUT GOOD (Outlined design. Parts
of date and legend worn smooth.)
AG-3 (About Good)
OBVERSE: Head is outlined with nearly
all details worn away. Date readable but
worn. Legend merging into rim.
REVERSE: Entire design partially worn
away. Rim worn half way into the legend.
Note: Coins of this design are sometimes
weakly struck in spots, particularly in the
lines and horizontal bands of the fasces.
The following dates are usually found
poorly struck and lacking full details
regardless of condition: 1916D, 1918S,
1921, 1921D, 1925D, 1925S, 1926S,
1927D, and 1927S.
1920 and 1920D usually show the zero
joined to the rim.
1921 usually has a weakly struck date,
especially the last two digits.
1923 often has the bottom of the three
weakly struck and joined to the rim.
1945 is rarely seen with full cross
bands on the fasces.
DIMES—
ROOSEVELT 1946
TO DATE
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance or light
toning. Any unusual striking traits must be
described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemish.
Has full mint luster but may be unevenly
toned or lightly fingermarked. A few
barely noticeable nicks or marks may be
present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. Has full mint luster, but
surface may be dull, spotted, or toned.
Check points for signs of abrasion: high
points of cheek and hair above ear, tops of
leaves and details in flame.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: Only a trace of wear shows
on highest points of hair above ear.
REVERSE: A trace of wear shows on
highest spots of the flame. Three-quarters
of the mint luster is still present.
AU-50 (About Uncirculated)
OBVERSE: Traces of wear show on hair
above ear.
REVERSE: Traces of wear show on
flame but details are sharply defined. Half
of the mint luster is still present.
EXTREMELY FINE (Very light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: Slight wear shows on high
points of hair above ear. Ear is sharp and
detailed.
REVERSE: High points of flame are
lightly worn. Torch lines are clearly
defined and fully separated. Part of the
mint luster is still present.
EF-40 (Extremely Fine)
OBVERSE: Wear shows on high points of
hair and at cheek line. Ear shows slight
wear on the upper tip.
REVERSE: High points of flame, torch
and leaves are worn, but all details are
clearly defined and partially separated.
Traces of mint luster may still show.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: Wear spots show on hair, ear,
cheek, and chin. Hair lines are weak but
have nearly full visible details.
REVERSE: Wear shows on flame but
some details are visible. All vertical lines
are plain. Most details in the torch and
leaves are clear.
VF-20 (Very Fine)
OBVERSE: Three-quarters of the details
still show in hair. Face worn but bold.
Some details in the ear are visible.
REVERSE: Wear shows on the flame but
a few lines are visible. All torch lines are
worn but bold. Most details in leaves are
clear.
FINE (Moderate to heavy even wear.
Entire design clear and bold.)
F-12 (Fine)
OBVERSE: Half the details show in hair.
All of the face is weak but boldly visible.
Half of inner edge of ear is worn away.
REVERSE: Vertical lines are all visible,
but horizontal bands are worn smooth.
Leaves show some detail. Flame is nearly
smooth.
VERY GOOD (Well worn. Design clear
but flat and lacking details.)
VG-8 (Very Good)
OBVERSE: Entire head is weak, and most
of the details in hair and ear are worn
smooth. All letters and date are clear. Rim
is complete.
REVERSE: About half the outer vertical
lines in torch are visible. Flame is only
outlined. Leaves show very little detail.
Rim is complete.
GOOD (Heavily worn. Design and
legend visible but faint in spots.)
G-4 (Good)
OBVERSE: Entire design well worn with
very little detail remaining. Ear is
completely outlined. Legend and date are
weak but visible. Rim is visible.
REVERSE: Torch is worn nearly flat but
is completely outlined. Leaves are worn
smooth. Legend is all visible.
ABOUT GOOD (Outlined design. Parts
of date and legend worn smooth.)
AG-3 (About Good)
OBVERSE: Head is outlined with nearly
all details worn away. Date readable but
worn. Legend merging into rim.
REVERSE: Entire design partially worn
away. Rim merges into the legend.
QUARTERS—
BARBER 1892–1916
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance or light
toning. Any unusual die or striking traits
must be described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemishes.
Has full mint luster but may be unevenly
toned or lightly fingermarked. A few
barely noticeable nicks or marks may be
present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. May lack full mint luster,
and surface may be dull, spotted, or
heavily toned. Check points for signs of
abrasion: high points of cheek and hair
below LIBERTY, eagle’s head and tips of tail
and wings.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: Only a trace of wear shows
on highest points of hair below BER in
LIBERTY.
REVERSE: A trace of wear shows on
head, tip of tail, and tips of wings. Threequarters of the mint luster is still present.
AU-50 (About Uncirculated)
OBVERSE: Traces of wear show on
cheek, tips of leaves, and hair below
LIBERTY.
REVERSE: Traces of wear show on head,
neck, tail, and tips of wings. Half of the
mint luster is still present.
EXTREMELY FINE (Very light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: Slight wear shows on high
points of upper leaves, cheek, and hair
above forehead. LIBERTY is sharp and band
edges are bold.
REVERSE: High points of head, neck,
wings, and talons lightly worn. Lines in
center tail feathers are clearly defined.
Part of the mint luster is still present.
EF-40 (Extremely Fine)
OBVERSE: Light wear shows on leaves,
cheek, cap, and hair above forehead.
LIBERTY is sharp and band edges are clear.
REVERSE: High points of head, neck,
wings, and tail are lightly worn, but all
details are clearly defined. Leaves show
trace of wear at edges. Traces of mint
luster may still show.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: Wear spots show on leaves,
cap, hair, and cheek. Bottom row of
leaves is weak but has some visible
details. LIBERTY and band are complete.
Folds in cap are distinct.
REVERSE: Wear shows on shield but all
details are visible. Most of the details in
neck and tail are clear. Motto is complete.
VF-20 (Very Fine)
OBVERSE: Over half the details still
show in leaves. Hair and ribbon worn but
bold. Every letter in LIBERTY is visible.
REVERSE: The shield is worn, but most
details are visible. Half the details in
feathers are clear. Wings and legs show
wear spots. Motto is clear.
FINE (Moderate to heavy even wear.
Entire design clear and bold.)
F-12 (Fine)
OBVERSE: Some details show in hair,
cap, and facial features. All letters in
LIBERTY are weak but visible. Upper row of
leaves is outlined, but bottom row is worn
nearly smooth. Rim is full and bold.
REVERSE: Half of the feathers are
plainly visible. Wear spots show in center
of neck, motto, and arrows. Horizontal
shield lines are merged; vertical lines are
separated. Letters in legend are worn but
clear.
VERY GOOD (Well worn. Design clear
but flat and lacking details.)
VG-8 (Very Good)
OBVERSE: Entire head weak, and most
details in face are worn smooth. Three
letters in LIBERTY are clear. Rim is
complete.
REVERSE: Eagle shows only a small
amount of detail. Arrows and leaves are
flat. Most of the shield is very weak. Part
of the eye is visible.
GOOD (Heavily worn. Design and
legend visible but faint in spots.)
G-4 (Good)
OBVERSE: Entire design well worn with
very little detail remaining. Legend is
weak but visible. LIBERTY is worn away.
REVERSE: Eagle worn flat but is
completely outlined. Ribbon worn nearly
smooth. Legend weak but visible. Rim
worn to tops of letters.
ABOUT GOOD (Outlined design. Parts
of date and legend worn smooth.)
AG-3 (About Good)
OBVERSE: Head is outlined with nearly
all details worn away. Date readable but
partially worn away. Legend merging into
rim.
REVERSE: Entire design partially worn
away and legend merges with rim.
QUARTERS—
LIBERTY
STANDING,
VARIETY I 1916–1917
LIBERTY
STANDING,
VARIETY II 1917–
1924
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance or light
toning. Head details* (see this page) are
an important part of this grade and must be
specifically designated. Any other unusual
die or striking traits must be described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemish.
Has full mint luster but may be unevenly
toned or lightly fingermarked, may be
weakly struck in one small spot. A few
barely noticeable nicks or marks may be
present. Head details may be incomplete.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. May lack full mint luster,
and surface may be dull, spotted, or
heavily toned. One or two small spots may
be weakly struck. Head details* (see this
page) may be incomplete. Check points
for signs of abrasion: mail covering
breast, knee, high points of gown and
shield; high points of eagle’s breast and
wings. Coins of this design frequently
show weakly struck spots and usually lack
full head details.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: Only a trace of wear shows
on highest points of mail covering breast,
inner shield, and right knee.
REVERSE: A trace of wear shows on
breast and edges of wings. Three-quarters
of the mint luster is still present.
AU-50 (About Uncirculated)
OBVERSE: Traces of wear show on
breast, knee, and high points of inner
shield.
REVERSE: Traces of wear show on
edges of wings and at center of breast. All
of the tail feathers are visible. Half of the
mint luster is still present.
EXTREMELY FINE (Very light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: Light wear spots show on
upper right leg and knee. Nearly all of the
gown lines are clearly visible. Shield
details are bold. Breast is lightly worn
and may show small flat spot.
REVERSE: Small flat spots show on high
points of breast and on front wing edges.
Tail feathers have nearly full details. Part
of the mint luster is still present.
EF-40 (Extremely Fine)
OBVERSE: Wear shows on breast and
right leg above and below knee. Most of
the gown lines are visible. Shield details
are bold. Breast is well rounded but has
small flat spot.
REVERSE: High points of eagle are
lightly worn. Central part of edge on right
wing is well worn. Traces of mint luster
may still show.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: Wear spots show on breast,
shield, and leg. Right leg is rounded but
worn from above knee to ankle. Gown
line crossing thigh is partially visible.
Half of mail covering breast can be seen.
Circle around inner shield is complete.
REVERSE: Breast and leg are worn but
clearly separated, with some feathers
visible between them. Feather ends and
folds are visible in right wing.
VF-20 (Very Fine)
OBVERSE: Right leg is worn flat in
central parts. Wear spots show on head,
breast, shield, and foot. Beads on outer
shield are visible, but those next to body
are weak. Inner circle of shield is
complete.
REVERSE: Entire eagle is lightly worn
but most major details are visible. Breast
and edge of right wing are worn flat. Top
tail feathers are complete.
FINE (Moderate to considerable even
wear. Entire design clear and bold.)
F-12 (Fine)
OBVERSE: Gown details worn but show
clearly across body. Left leg is lightly
worn. Right leg nearly flat and toe is
worn. Breast worn but some mail is
visible. Date may show some weakness at
top. Rim is full. Outer edge of shield is
complete.
REVERSE: Breast is worn almost smooth.
Half of the wing feathers are visible,
although well worn in spots. The rim is
full.
VERY GOOD (Well worn. Design clear
but flat and lacking details.)
VG-8 (Very Good)
OBVERSE: Entire design is weak, and
most details in gown are worn smooth. All
letters and date are clear but tops of
numerals may be flat. Rim is complete.
Drape across breast is partially outlined.
REVERSE: About one-third of the
feathers are visible and large feathers at
ends of wings are well separated. Eye is
visible. Rim is full and all letters are
clear.
GOOD (Heavily worn. Design and
legend visible but faint in spots.)
G-4 (Good)
OBVERSE: Entire design well worn with
very little detail remaining. Legend and
date are weak but visible. Top of date
may be worn flat. Rim is complete.
REVERSE: Eagle worn nearly flat but is
completely outlined. Lettering and stars
worn but clearly visible. Rim worn to
tops of legend.
ABOUT GOOD (Outlined design. Parts
of date and legend worn smooth.)
AG-3 (About Good)
OBVERSE: Figure is outlined with nearly
all details worn away. Legend visible but
half worn away and may merge with rim.
Date weak and readable.
REVERSE: Entire design partially worn
away. Some letters merging into rim.
Note: Coins of this design are sometimes
weakly struck in spots, particularly at
Liberty’s head, breast, knee, and shield
and on the eagle’s breast and wings.
*Specimens with “full head” must show
the following details: Three well-defined
leaves in hair; complete hairline along
brow and across face; small indentation at
ear. Coins of any grade other than MS-70
can be assumed to lack full head details
unless the amount of visible features is
specifically designated.
QUARTERS—
WASHINGTON 1932
TO DATE
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance or light
toning. Any unusual striking traits must be
described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemishes.
Has full mint luster but may be unevenly
toned or lightly fingermarked. A few
barely noticeable nicks or marks may be
present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. May lack full mint luster,
and surface may be dull, spotted, or
heavily toned. Check points for signs of
abrasion: high points of cheek and hair in
front and back of ear, tops of legs, and
details in breast feathers.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: Only a trace of wear shows
on highest points of hair in front and in
back of ear.
REVERSE: A trace of wear shows on
highest spots of breast feathers. Nearly all
of the mint luster is still present.
AU-50 (About Uncirculated)
OBVERSE: Traces of wear show on hair
in front and in back of ear.
REVERSE: Traces of wear show on legs
and breast feathers. Three-quarters of the
mint luster is still present.
EXTREMELY FINE (Light wear on
most of the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: Slight wear shows on high
points of hair around ear and along
hairline up to crown. Hairlines are sharp
and detailed.
REVERSE: High points of legs are lightly
worn. Breast feathers are worn but clearly
defined and fully separated. Half of the
mint luster is still present.
EF-40 (Extremely Fine)
OBVERSE: Wear shows on high points of
hair around and at hairline up to crown.
REVERSE: High points of breast, legs,
and claws are lightly worn, but all details
are clearly defined and partially
separated. Part of the mint luster is still
present.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: Wear spots show on hair at
forehead and ear, cheek, and jaw.
Hairlines are weak but have nearly full
visible details.
REVERSE: Wear shows on breast but a
few feathers are visible. Legs are worn
smooth. Most details in the wings are
clear.
FINE (Moderate to considerable even
wear. Entire design clear and bold.)
F-12 (Fine)
OBVERSE: Details show only at back of
hair. Motto is weak but clearly visible.
Part of cheek edge is worn away.
REVERSE: Feathers in breast and legs
are worn smooth. Leaves show some
detail. Parts of wings are nearly smooth.
VERY GOOD (Well worn. Design clear
but flat and lacking details.)
VG-8 (Very Good)
OBVERSE: Entire head is weak, and most
details in hair are worn smooth. All letters
and date are clear. Rim is complete.
REVERSE: About half of the wing
feathers are visible. Breast and legs only
outlined. Leaves show very little detail.
Rim is complete.
GOOD (Heavily worn. Design and
legend visible but faint in spots.)
G-4 (Good)
OBVERSE: Hair is well worn with very
little detail remaining. Half of motto is
readable. LIBERTY and date are weak but
visible. Rim merges with letters.
REVERSE: Eagle is worn nearly flat but
is completely outlined. Leaves, breast,
and legs are worn smooth. Legend is all
visible but merges with rim.
ABOUT GOOD (Outlined design. Parts
of date and legend worn smooth.)
AG-3 (About Good)
OBVERSE: Head is outlined with nearly
all details worn away. Date readable but
worn. Traces of motto are visible. Legend
merging into rim.
REVERSE: Entire design partially worn
away. Rim merges into legend.
Note: The obverse motto is always weak
on coins of 1932 and early issues of 1934.
The reverse rim and lettering has a
tendency to be very weak particularly on
coins dated 1934D, 1935D and S, 1936D
and S, 1937D and S (especially), 1938D
and S, 1939D, and 1940D.
HALF DOLLARS—
BARBER 1892–1915
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance or light
toning. Any unusual die or striking traits
must be described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemish.
Has full mint luster but may be unevenly
toned or lightly fingermarked. A few
barely noticeable nicks or marks may be
present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. May lack full mint luster,
and surface may be dull, spotted, or
heavily toned. Check points for signs of
abrasion: high points of cheek and hair
below LIBERTY, eagle’s head and tips of tail
and wings.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: Only a trace of wear shows
on highest points of hair below BER in
LIBERTY.
REVERSE: A trace of wear shows on
head, tip of tail, and tips of wings. Threequarters of the mint luster is still present.
AU-50 (About Uncirculated)
OBVERSE: Traces of wear show on
cheek, tips of leaves, and hair below
LIBERTY.
REVERSE: Traces of wear show on head,
neck, tail, and tips of wings. Half of the
mint luster is still present.
EXTREMELY FINE (Very light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: Slight wear shows on high
points of upper leaves, cheek, and hair
above forehead. LIBERTY is sharp and band
edges are bold.
REVERSE: High points of head, neck,
wings, and talons lightly worn. Lines in
reverse center tail feathers are clearly
defined. Part of the mint luster is still
present.
EF-40 (Extremely Fine)
OBVERSE: Light wear shows on leaves,
cheek, cap, and hair above forehead.
LIBERTY is sharp and band edges are clear.
REVERSE: High points of head, neck,
wings, and tail are lightly worn, but all
details are clearly defined. Leaves show
trace of wear at edges. Traces of mint
luster may still show.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: Wear spots show on leaves,
cap, hair, and cheek. Bottom row of
leaves is weak but has some visible
details. LIBERTY and band are complete.
Folds in cap are distinct.
REVERSE: Wear shows on shield but all
details are visible. Most of the details in
neck and tail are clear. Motto is complete.
VF-20 (Very Fine)
OBVERSE: Over half the details still
show in leaves. Hair and ribbon worn but
bold. Every letter in LIBERTY is visible.
Bottom folds in cap are full.
REVERSE: Shield is worn, but all details
are visible. Half the details in feathers are
clear. Wings, tail, and legs show small
wear spots. Motto is clear.
FINE (Moderate to considerable even
wear. Entire design clear and bold.)
F-12 (Fine)
OBVERSE: Some details show in hair,
cap, and facial features. All letters in
LIBERTY are weak but visible. Upper row of
leaves is outlined, but bottom row is worn
nearly smooth. Rim is full and bold.
REVERSE: Half the feathers are plainly
visible. Wear spots show in center of
neck, motto, and arrows. Horizontal shield
lines are merged; vertical lines are
separated. Letters in legend are worn but
clear.
VERY GOOD (Well worn. Design clear
but flat and lacking details.)
VG-8 (Very Good)
OBVERSE: Entire head weak, and most
details in face are heavily worn. Three
letters in LIBERTY are clear. Rim is
complete.
REVERSE: Eagle shows only a small
amount of detail. Arrows and leaves are
flat. Most of shield is very weak. Parts of
eye and motto visible.
GOOD (Heavily worn. Design and
legend visible but faint in spots.)
G-4 (Good)
OBVERSE: Entire design well worn with
very little detail remaining. Legend and
date weak but visible. LIBERTY is worn
away.
REVERSE: Eagle worn flat but is
completely outlined. Ribbon worn nearly
smooth. Legend weak but visible. Rim
worn to tops of letters.
ABOUT GOOD (Outlined design. Parts
of date and legend worn smooth.)
AG-3 (About Good)
OBVERSE: Head is outlined with nearly
all details worn away. Date readable but
partially worn away. Legend merging into
rim.
REVERSE: Entire design partially worn
away and legend merges with rim.
HALF DOLLARS—
LIBERTY WALKING
1916–1947
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance or light
toning. Any unusual die or striking traits
must be described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemishes.
Has full mint luster but may be unevenly
toned or lightly fingermarked. May be
weakly struck in one or two small spots.
A few minute nicks or marks may be
present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. May lack full mint luster,
and surface may be dull, spotted, or
heavily toned. A few small spots may be
weakly struck. Check points for signs of
abrasion: hair above temple, right arm,
left breast; high points of eagle’s head,
breast, legs, and wings. Coins of this
design frequently show weakly struck
spots and usually lack full head and hand
details.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: Only a trace of wear shows
on highest points of head, breast, and right
arm.
REVERSE: A trace of wear shows on left
leg between breast and left wing. Threequarters of the mint luster is still present.
AU-50 (About Uncirculated)
OBVERSE: Traces of wear show on
head, breast, arms, and left leg.
REVERSE: Traces of wear show on high
points of wings and at center of head. All
leg feathers are visible. Half of the mint
luster is still present.
EXTREMELY FINE (Very light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: Light wear spots show on
head, breast, arms, left leg, and foot.
Nearly all gown lines are clearly visible.
Sandal details are bold and complete.
Knee is lightly worn but full and rounded.
REVERSE: Small flat spots show on high
points of breast and legs. Wing feathers
have nearly full details. Part of the mint
luster is still present.
EF-40 (Extremely Fine)
OBVERSE: Wear shows on head, breast,
arms, and left leg. Nearly all gown lines
are visible. Sandal details are complete.
Breast and knee are nearly flat.
REVERSE: High points of eagle are
lightly worn. Half the breast and leg
feathers are visible. Central part of
feathers below neck is well worn. Traces
of mint luster may still show.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: Wear spots on head, breast,
arms, and legs. Left leg is rounded but
worn from above knee to ankle. Gown
line crossing body is partially visible.
Knee is flat. Outline of breast can be seen.
REVERSE: Breast and legs are
moderately worn but clearly separated,
with some feathers visible in right wing.
Pupil in eye is visible.
VF-20 (Very Fine)
OBVERSE: Left leg is worn nearly flat.
Wear spots show on head, breast, arms,
and foot. Lines on skirt are visible, but
may be weak on coins before 1921. Breast
is outlined.
REVERSE: Entire eagle is lightly worn
but most major details are visible. Breast,
central part of legs, and top edge of right
wing are worn flat.
FINE (Moderate to considerable even
wear. Entire design clear and bold.)
F-12 (Fine)
OBVERSE: Gown stripes worn but show
clearly, except for coins before 1921,
where only half are visible. Right leg is
lightly worn. Left leg nearly flat and
sandal is worn but visible. Center of body
worn but some of the gown is visible.
Outer edge of rim is complete.
REVERSE: Breast is worn smooth. Half
the wing feathers are visible, although
well worn in spots. Top two layers of
feathers are visible in left wing. Rim is
full.
VERY GOOD (Well worn. Design clear
but flat and lacking details.)
VG-8 (Very Good)
OBVERSE: Entire design is weak; most
details in gown are worn smooth except
for coins after 1921, where half the stripes
must show. All letters and date are clear
but top of motto may be weak. Rim is
complete. Drapery across body is
partially visible.
REVERSE: About one-third of the
feathers are visible, and large feathers at
ends of wings are well separated. Eye is
visible. Rim is full and all letters are
clear.
GOOD (Heavily worn. Design and
legend visible but faint in spots.)
G-4 (Good)
OBVERSE: Entire design well worn with
very little detail remaining. Legend and
date weak but visible. Top of date may be
worn flat. Rim is flat but nearly complete.
REVERSE: Eagle worn nearly flat but is
completely outlined. Lettering and motto
worn but clearly visible.
ABOUT GOOD (Outlined design. Parts
of date and legend worn smooth.)
AG-3 (About Good)
OBVERSE: Figure is outlined with nearly
all details worn away. Legend visible but
half worn away. Date weak but readable.
Rim merges with lettering.
REVERSE: Entire design partially worn
away. Letters merge with rim.
Note: Coins of this design are sometimes
weakly struck in spots, particularly at
Liberty’s head, hand holding branch, and
drapery lines of dress, and on the eagle’s
leg feathers.
HALF DOLLARS—
FRANKLIN 1948–
1963
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance or light
toning. Any unusual striking traits must be
described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemishes.
Has full mint luster but may be unevenly
toned or lightly fingermarked. A few
barely noticeable nicks or marks may be
present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. May lack full mint luster,
and surface may be dull, spotted, or
heavily toned. Check points for signs of
abrasion: high points of cheek, shoulder,
and hair left of ear; straps around beam,
lines, and lettering on bell.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: Only a trace of wear shows
on highest spots of cheek and hair left of
ear.
REVERSE: A trace of wear shows on
highest points of lettering on bell. Nearly
all of the mint luster is still present.
AU-50 (About Uncirculated)
OBVERSE: Traces of wear show on
cheek and hair on shoulder and left of ear.
REVERSE: Traces of wear show on bell
at lettering and along ridges at bottom.
Three-quarters of the mint luster is still
present.
EXTREMELY FINE (Very light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: Slight wear shows on cheek
and high points of hair behind ear and
along shoulder. Hairlines at back of head
are sharp and detailed.
REVERSE: High points of straps on beam
are lightly worn. Lines at bottom of bell
are worn but clearly defined and
separated. Lettering on bell is very weak
at center. Half of the mint luster is still
present.
EF-40 (Extremely Fine)
OBVERSE: Wear shows on high points of
cheek and hair behind ear and at shoulder.
REVERSE: High points of beam straps
and lines along bottom of bell are lightly
worn, but details are clearly defined and
partially separated. Lettering on bell is
worn away at center. Part of the mint
luster is still present.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: Wear spots show on hair at
shoulder and behind ear, on cheek and
jaw. Hairlines are weak but have nearly
full visible details.
REVERSE: Wear shows on bell lettering
but some of the details are visible. Straps
on beam are plain. Half of line details at
bottom are worn smooth.
VF-20 (Very Fine)
OBVERSE: Three-quarters of the lines
still show in hair. Cheek lightly worn but
bold. Some hair details around the ear are
visible.
REVERSE: Wear shows on beam but
most details are visible. Bell is worn but
bold. Lines across bottom of bell are flat
near crack.
Fine (Moderate to considerable even
wear. Entire design clear and bold.)
F-12 (Fine)
OBVERSE: Hair details show only at
back and side of head. Designer’s initials
weak but clearly visible. Part of cheek is
worn flat.
REVERSE: Most of lines at bottom of bell
are worn smooth. Parts of straps on beam
are nearly smooth. Rim is full.
VERY GOOD (Well worn. Design clear
but flat and lacking details.)
VG-8 (Very Good)
OBVERSE: Entire head is weak, and most
details in hair from temple to ear are worn
smooth. All letters and date are bold. Ear
and designer’s initial are visible. Rim is
complete.
HALF DOLLARS—
KENNEDY 1964 TO
DATE
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance or light
toning. Any unusual striking traits must be
described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemish.
Has full mint luster but may be unevenly
toned or lightly fingermarked. A few
barely noticeable nicks or marks may be
present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. Has full mint luster, but
surface may be dull, spotted, or heavily
toned. Check points for signs of abrasion:
high points of cheek and jawbone, center
of neck, hair below part, bundle of
arrows, center tail feather, right wing tip.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: Only a trace of wear shows
on highest points of cheek, jawbone, and
hair below part.
REVERSE: A trace of wear shows on
central tail feather. Nearly all of the mint
luster is still present.
EXTREMELY FINE (Very light wear on
only the highest points.)
EF-40 (Extremely Fine)
OBVERSE: Slight wear shows on cheek,
along jawbone, and on high points of hair
below part. Hairlines are sharp and
detailed.
REVERSE: High points of arrows and
right wing tip are lightly worn. Central tail
feathers are worn but clearly defined and
fully separated. Three-quarters of the mint
luster is still present.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: Wear spots show on hair
below part and along cheek and jaw.
Hairlines are weak but have nearly full
visible details.
REVERSE: Wear shows on arrow points
but some details are visible. All central
tail feathers are plain. Wing tips are
lightly worn.
DOLLARS—
MORGAN 1878–1921
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance or light
toning. Any unusual striking traits must be
described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for a few minute bag marks
or surface marks. Has full mint luster but
may be unevenly toned. Any unusual
striking traits must be described.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with bag marks and other
abrasions more obvious than for MS-65.
May have a few small rim marks and
weakly struck spots. Has full mint luster
but may lack brilliance, and surface may
be spotted or heavily toned. For these
coins, bag abrasions and scuff marks are
considered different from circulation
wear. Full mint luster and lack of any
wear are necessary to distinguish MS-60
from AU-55. Check points for signs of
wear: hair above eye and ear, edges of
cotton leaves and blossoms, high upper
fold of cap, high points of eagle’s breast,
and tops of legs. Weakly struck spots are
common and should not be confused with
actual wear.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: Slight trace of wear shows on
hair above ear and eye, edges of cotton
leaves, and high upper fold of cap. Luster
fading from cheek.
REVERSE: Slight trace of wear shows on
breast, tops of legs, and talons. Most of
the mint luster is still present, although
marred by light bag marks and surface
abrasions.
AU-50 (About Uncirculated)
OBVERSE: Traces of wear show on hair
above eye and ear, edges of cotton leaves,
and high upper fold of cap. Partial detail
visible on tops of cotton blossoms. Luster
gone from cheek.
REVERSE: There are traces of wear on
breast, tops of legs, wing tips, and talons.
Three-quarters of the mint luster is still
present. Surface abrasions and bag marks
are more noticeable than for AU-55.
EXTREMELY FINE (Very light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: Slight wear on hair above
date, forehead, and ear. Lines in hair well
detailed and sharp. Slight flat spots on
edges of cotton leaves. Minute signs of
wear on cheek.
REVERSE: High points of breast are
lightly worn. Tops of legs and right wing
tip show wear. Talons are slightly flat.
Half of the mint luster is still present.
EF-40 (Extremely Fine)
OBVERSE: Wear shows on hair above
date, forehead, and ear. Lines in hair well
detailed. Flat spots visible on edges of
cotton leaves. Cheek lightly worn.
REVERSE: Almost all feathers gone from
breast. Tops of legs, wing tips, and
feathers on head show wear. Talons are
flat. Partial mint luster is visible.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: Wear shows on high points of
hair from forehead to ear. Some strands
visible in hair above ear. There are
smooth areas on cotton leaves and at top
of cotton blossoms.
REVERSE: Wear shows on leaves of
wreath and tips of wings. Only a few
feathers visible on breast and head.
VF-20 (Very Fine)
OBVERSE: Smooth spots visible on hair
from forehead to ear. Cotton leaves
heavily worn but separated. Wheat grains
show wear.
REVERSE: Some leaves on wreath are
well worn. Breast is smooth, and only a
few feathers show on head. Tips of wings
are weak but lines are complete.
FINE (Moderate to heavy even wear.
Entire design clear and bold.)
F-12 (Fine)
OBVERSE: Hairline along face is clearly
defined. Lower two cotton leaves smooth
but distinct from cap. Some wheat grains
merging. Cotton blossoms flat but the two
lines in each show clearly.
REVERSE: One-quarter of eagle’s right
wing and edge of left wing are smooth.
Head, neck, and breast are flat and
merging. Tail feathers slightly worn. Top
leaves in wreath show heavy wear.
VERY GOOD (Well worn. Design clear
but flat and lacking details.)
VG-8 (Very Good)
OBVERSE: Most details in hair are worn
smooth. All letters and date are clear.
Cotton blossoms flat and leaves merging
in spots. Hair of eagle’s right wing and
one-third of left wing are smooth. All
leaves in wreath are worn. Rim is
complete.
GOOD (Heavily worn. Design and
legend visible but faint in spots.)
G-4 (Good)
OBVERSE: Hair is well worn with very
little detail remaining. Date, letters, and
design clearly outlined. Rim is full.
REVERSE: Eagle is worn nearly flat but
is completely outlined. Design elements
smooth but visible. Legend is all visible;
rim is full.
ABOUT GOOD (Outlined design. Parts
of date and legend worn smooth.)
AG-3 (About Good)
OBVERSE: Head is outlined with nearly
all details worn away. Date readable but
worn. Legend merging into rim.
REVERSE: Entire design partially worn
away. Rim merges into legend.
Note: Some of these dollars have a
prooflike surface; this should be
mentioned in any description of such
pieces.
Portions of the design are often weakly
struck, especially on the hair above the
ear and on the eagle’s breast.
DOLLARS—PEACE
1921–1935
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster or light toning. Any unusual
striking traits must be described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for a few minute bag marks
or surface marks. Has full mint luster but
may be unevenly toned.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with bag marks and other
abrasions more obvious than for MS-65.
May have a few small rim mars, and may
be weakly struck. Has full mint luster but
may lack brilliance, and surface may be
spotted or heavily toned. For these coins,
bag abrasions and scuff marks are
considered different from circulation
wear. Full mint luster and lack of any
wear are necessary to distinguish MS-60
from AU-55. Check points for signs of
wear: high points of cheek and hair, high
points of feathers on right wing and leg.
Weakly struck spots are common and
should not be confused with actual wear.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: Trace of wear shows on hair
over ear and above forehead. Slight wear
visible on cheek.
REVERSE: High points of feathers on
right wing show a trace of wear. Most of
the mint luster is still present, although
marred by light bag marks and surface
abrasions.
AU-50 (About Uncirculated)
OBVERSE: Traces of wear visible on
neck and hair over ear and above
forehead. Cheek shows slight wear.
REVERSE: Traces of wear show on head
and high points of feathers on right wing.
Three-quarters of the mint luster is still
present. Surface abrasions and bag marks
are more noticeable than for AU-55.
EXTREMELY FINE (Very light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: Hair around face shows slight
wear, but most hair strands are visible.
Lower edge of neck lightly worn.
REVERSE: Top of neck and head behind
eye show slight wear. Central wing and
leg feathers lightly worn. Half of the mint
luster is still present.
EF-40 (Extremely Fine)
OBVERSE: Slight flattening visible on
high points of hair; most hair strands
clearly separated. Entire face and lower
edge of neck lightly worn.
REVERSE: Wear shows on head behind
eye and top of neck. Some flat spots
visible on central wing and leg feathers.
Partial mint luster is visible.
DOLLARS—
EISENHOWER 1971–
1978
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance or light
toning. Any unusual striking traits must be
described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemish.
Has full mint luster but may be unevenly
toned or lightly fingermarked. A few
minute nicks or marks may be present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. Has full mint luster, but
surface may be dull, spotted, or heavily
toned. Check points for signs of abrasion:
high points of cheek and jawbone, center
of neck, edge of bust, head, high points of
ridges and feathers in wings and legs.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: Only a trace of wear shows
on highest points of jawbone and at center
of neck.
REVERSE: A trace of wear shows on
high points of feathers in wings and legs.
Nearly all of the mint luster is still
present.
EXTREMELY FINE (Very light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: Slight wear shows on cheek,
along jawbone, and on high points at edge
of bust. Hairlines are sharp and detailed.
REVERSE: High points of head, legs, and
wing ridges are lightly worn. Central
feathers are all clearly defined. Threequarters of the mint luster is still present.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: Wear spots show on hair
below part and along cheek and jaw.
Hairlines are weak but have nearly full
visible details. Slight wear shows at
center of neck and along edge of bust.
REVERSE: Wear shows on head and
feathers in wings and legs but all details
are visible. All central tail feathers are
plain. Wing and leg ridges are lightly
worn.
GOLD DOLLARS—
TYPE I 1849–1854
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance. Any unusual
die or planchet traits must be described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemish.
Has full mint luster and brilliance but may
show slight discoloration. A few barely
noticeable nicks or marks may be present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. May lack full mint luster
and brilliance. Check points for signs of
abrasion: hair near coronet; tips of leaves.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: There is a trace of wear at
upper hairline below coronet.
REVERSE: Trace of wear visible on tips
of leaves. Three-quarters of the mint luster
is still present.
AU-50 (About Uncirculated)
OBVERSE: There is a trace of wear on
hairlines near coronet and below the ear.
REVERSE: Trace of wear visible on tips
of leaves. Half of the mint luster is still
present.
EXTREMELY FINE (Very light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: Slight wear shows on highest
wave of hair, hairline, and below ear. All
major details are sharp. Beads at top of
coronet are well defined.
REVERSE: Leaves show visible wear at
tips, but central details are clearly
defined. Traces of mint luster will show.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: Beads on top of coronet are
well defined. LIBERTY is complete. Hair
around face and neck slightly worn but
strands fully separated. Star centers show
some details.
REVERSE: There is light even wear on
legend and date. Some details show in
center of leaves.
VF-20 (Very Fine)
OBVERSE: Beads at top of coronet are
partially separated. LIBERTY is complete.
Hair around face and neck noticeably
worn but well outlined. Some star centers
show details.
REVERSE: There is light even wear on
legend and date. Only traces of leaf ribs
are visible. Bow knot is flat on high point.
FINE (Moderate to heavy even wear.
Entire design clear and bold.)
F-12 (Fine)
OBVERSE: LIBERTY is complete but weak.
Ear lobe is visible. Hairlines and beads
on coronet are worn smooth. Stars are
clearly outlined, but centers are flat.
REVERSE: Legend within wreath is worn
and weak in spots. Leaves and wreath are
well outlined. Rim is full and edge
beveled.
VERY GOOD (Well worn. Design clear
but flat and lacking details.)
VG-8 (Very Good)
OBVERSE: Only the outline of hair is
visible. Four letters in LIBERTY are clear.
REVERSE: Only the outline of leaves is
visible. Legend and numeral are worn and
very weak.
GOOD (Heavily worn. Design and
legend visible but faint in spots).
G-4 (Good)
OBVERSE: Head is outlined with nearly
all details worn away. Stars are weak.
Full rim shows.
REVERSE: Date and legend well worn
but readable. Leaves are outlined. Full
rim shows.
Note: The gold dollars struck at Charlotte
and Dahlonega are crude compared to
those of the Philadelphia Mint. Frequently
they have rough edges, and the die work
appears to be generally inferior. In
grading coins from these Branch Mints,
consideration must be given to these
factors.
QUARTER EAGLES
—CORONET HEAD
1840–1907
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance. Any unusual
die or planchet traits must be described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemish.
Has full mint luster and brilliance but may
show slight discoloration. A few barely
noticeable nicks or marks may be present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. May lack full mint luster
and brilliance. Check points for signs of
abrasion: tip of coronet, hair, wings,
claws.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: There is a trace of wear on
tip of coronet and above eye.
REVERSE: Trace of wear visible on
wing tips. Three-quarters of the mint
luster is still present.
AU-50 (About Uncirculated)
OBVERSE: There is a trace of wear on
coronet and on hair above ear, eye, and
forehead.
REVERSE: Trace of wear visible on
wing tips, below eye, and on claw. Half
of the mint luster is still present.
EXTREMELY FINE (Very light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: There is light wear on
coronet, and on hair above ear, eye,
forelocks, and top of head.
REVERSE: Light wear shows on edges
and tips of wings, on neck, below eye, and
on claws. Part of the mint luster is still
present.
EF-40 (Extremely Fine)
OBVERSE: Light wear shows on coronet,
hair above ear and eye, on forelocks, and
on cheek. All major details sharp.
REVERSE: Light wear shows on edges
and tips of wings, on neck, below eye, on
feathers, and claws. Shield well defined.
Traces of mint luster will show.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: Light wear visible on
coronet; hair is worn but shows
considerable detail. Most stars show
details. LIBERTY bold and clear.
REVERSE: Light wear shows on edges
and tips of wings. Some detail shows on
head and neck feathers. Vertical shield
lines complete but some not separated;
horizontal lines worn in center.
VF-20 (Very Fine)
OBVERSE: Hair outlined with very little
detail. Only a few stars show any details.
LIBERTY clear but not bold.
REVERSE: Half of wing feathers visible.
Half of lines in shield are clear.
FINE (Moderate to heavy even wear.
Entire design clear and bold.)
F-12 (Fine)
OBVERSE: Hair and cheek smooth. Stars
outlined with no visible details. LIBERTY
worn but visible.
REVERSE: Wings show very little detail.
Head and one claw outlined only, with no
details visible. Neck almost smooth. Most
of shield lines merge.
Note: Coins of this type seldom appear in
grades lower than Fine. Pieces made at
Charlotte, Dahlonega, and New Orleans
are frequently found weakly struck. Those
from San Francisco often lack feather
details.
QUARTER EAGLES
—INDIAN HEAD
1908–1929
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance. Any unusual
die or planchet traits must be described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemish.
Has full mint luster and brilliance but may
show slight discoloration. A few barely
noticeable nicks or marks may be present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. May lack full mint luster
and brilliance. Check points for signs of
abrasion: cheekbone, headdress, headband
feathers, shoulder of eagle’s left wing.
ABOUT
UNCIRCULATED
(Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: There is a trace of wear on
cheekbone.
REVERSE: Trace of wear visible on
shoulder of eagle’s left wing. Threequarters of the mint luster is still present.
AU-50 (About Uncirculated)
OBVERSE: There is a trace of wear on
cheekbone and headdress.
REVERSE: Trace of wear visible on
shoulder of wing, head, and breast. Half
of the mint luster is still present.
EXTREMELY FINE (Very light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: There is light wear on
cheekbone, headdress, and headband.
REVERSE: Light wear shows on upper
portion of wing, head, neck, and breast.
EF-40 (Extremely Fine)
OBVERSE: Light wear shows on
cheekbone, jaw, and headband. Slight
wear visible on feathers of headdress.
Stars sharp.
REVERSE: Light wear shows on wing,
head, neck, and breast. Leg has full feather
detail. Traces of mint luster will show.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: Cheekbone shows flat spot.
Small feathers clear; large feathers show
some detail. Most of headband detail
visible.
REVERSE: Wear shows on wing and
neck. Some breast feathers show details.
Most of leg feathers visible.
VF-20 (Very Fine)
OBVERSE: Cheekbone worn about
halfway. Small feathers clear but large
feathers show a little detail. Hair cord
knot is distinct. Headband shows some
detail.
REVERSE: Little detail shows on breast
and leg feathers. Top of wing and neck
worn. Second layer of wing feathers
shows.
FINE (Moderate to heavy even wear.
Entire design clear and bold.)
F-12 (Fine)
OBVERSE: Cheekbone worn; all feathers
worn with very little detail visible. Stars
outlined, with no details visible. Hair
cord knot is worn but visible.
REVERSE: Wing worn, with only partial
feathers at bottom visible. All lettering
worn but visible.
Note: Coins of this type are seldom
collected in grades lower than Fine. Mint
marks are often weakly struck.
HALF EAGLES—
CORONET HEAD
1839–1908
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance. Any unusual
die or planchet traits must be described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemishes.
Has full mint luster and brilliance but may
show slight discoloration. A few barely
noticeable bag marks and surface
abrasions may be present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. Has full mint luster but
may lack brilliance. Surface may be
lightly marred by minor bag marks and
abrasions. Check points for signs of wear:
hair, coronet, wings.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: There is a trace of wear on
tip of coronet and hair above eye.
REVERSE: Trace of wear visible on
wing tips. Three-quarters of the mint
luster is still present.
AU-50 (About Uncirculated)
OBVERSE: There is a trace of wear on
coronet, above ear and eye.
REVERSE: Trace of wear visible on
wing tips, below eye and on claw. Half of
the mint luster is still present.
EXTREMELY FINE (Light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: There is light wear on
coronet, and on hair above ear, eye,
forelocks, and top of head.
REVERSE: Light wear shows on edges
and tips of wings, on neck, below eye, and
on claws. Part of the mint luster is still
present.
EF-40 (Extremely Fine)
OBVERSE: Light wear shows on coronet,
on hair above ear and eye, on the forelock,
on top of head, and on cheek. All major
details are sharp.
REVERSE: Light wear visible on edges
and tips of wings, on neck, below eye, on
feathers, and claws. Shield is well
defined. Traces of mint luster will show.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: Light wear shows on coronet,
hair, and stars but most details are visible.
LIBERTY bold.
REVERSE: Light wear visible on edges
and tips of wings. Head and neck feathers
show some detail. Vertical lines in shield
complete but some not separated;
horizontal lines worn in center.
VF-20 (Very Fine)
OBVERSE: Hair worn but major details
visible. Top line of coronet broken. Some
stars show partial detail. LIBERTY clear but
not bold.
REVERSE: Half of wing feathers are
visible. Half of lines in shield are clear.
FINE (Moderate to heavy even wear.
Entire design clear and bold.)
F-12 (Fine)
OBVERSE: Hair and cheekbone smooth.
Top line of coronet worn. LIBERTY worn but
visible.
REVERSE: Wings show very little detail.
Head and one claw outlined only, with no
details visible. Neck almost smooth. Most
of shield lines merge. (For the 1866
through 1908 group, the motto is worn but
readable.)
Note: Coins of this type are seldom
collected in grades lower than Fine.
HALF EAGLES—
INDIAN HEAD 1908–
1929
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance. Any unusual
die or planchet traits must be described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemish.
Has full mint luster and brilliance but may
show slight discoloration. A few barely
noticeable bag marks and surface
abrasions may be present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. Has full mint luster but
may lack brilliance. Surface may be
lightly marred by minor bag marks and
abrasions. Check points for signs of wear:
cheekbone, headdress, headband feathers,
shoulder of eagle’s left wing.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: There is a trace of wear on
cheekbone.
REVERSE: Trace of wear visible on
shoulder of eagle’s left wing. Threequarters of the mint luster is still present.
AU-50 (About Uncirculated)
OBVERSE: There is a trace of wear on
cheekbone and headdress.
REVERSE: Trace of wear visible on
shoulder of wing, head, and breast. Half
of the mint luster is still present.
EXTREMELY FINE (Light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: There is light wear on
cheekbone, headdress, and headband.
REVERSE: Light wear shows on upper
portion of wing, head, neck, and breast.
Part of mint luster is still present.
EF-40 (Extremely Fine)
OBVERSE: Light wear shows on
cheekbone, jaw, and headband. Slight
wear visible on feathers of headdress.
Stars are sharp.
REVERSE: Light wear shows on wing,
head, neck, and breast. Leg has full feather
detail. Traces of mint luster will show.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: Cheekbone worn, shows flat
spot. Small feathers clear; large feathers
show some details. Most of headband
detail visible.
REVERSE: Wear shows on wing and
neck. Some breast feathers show details.
Most of leg feathers visible.
VF-30 (Very Fine)
OBVERSE: Cheekbone worn about
halfway. Headdress feathers show some
details. Hair cord knot is distinct.
Headband shows only a little detail.
REVERSE: Little detail shows on breast
and leg feathers. Top of wing and neck
worn. Second layer of wing feathers
shows.
FINE (Moderate to heavy even wear.
Entire design clear and bold.)
F-12 (Fine)
OBVERSE: Cheekbone worn; all feathers
worn with very little detail visible. Stars
outlined with no details visible. Hair cord
knot is worn but visible.
REVERSE: Wing worn, with only partial
feathers at bottom visible. All lettering
worn but visible.
Note: Coins of this type are seldom
collected in grades lower than Fine. Mint
marks are often very weakly struck.
EAGLES—CORONET
HEAD 1838–1907
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance. Any unusual
die or planchet traits must be described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemishes.
Has full mint luster and brilliance but may
show slight discoloration. A few barely
noticeable bag marks and surface
abrasions may be present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. Has full mint luster but
may lack brilliance. Surface may be
lightly marred by minor bag marks and
abrasions. Check points for signs of wear:
hair, coronet, wings.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: There is a trace of wear on
hair above eye and on coronet.
REVERSE: Trace of wear visible on
wing tips. Three-quarters of the mint
luster is still present.
AU-50 (About Uncirculated)
OBVERSE: There is a trace of wear on
hair at ear and above eye, and on coronet.
REVERSE: Trace of wear visible on
wing tips, below eye, and on claw. Half
of the mint luster is still present.
EXTREMELY FINE (Light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: There is light wear on
coronet, and on hair above ear, eye,
forelocks, and top of head.
REVERSE: Light wear shows on edges
and tips of wings, on neck, below eye, and
on claws. Part of the mint luster is still
present.
EF-40 (Extremely Fine)
OBVERSE: Light wear shows on coronet,
hair, cheek, and stars. All major details
sharp.
REVERSE: Light wear visible on wings,
head, neck, and claws. Shield is well
defined. Traces of mint luster will show.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: There is light wear on
coronet, hair, and stars, but most details
are visible. There is a break on top line of
coronet over two letters in LIBERTY. Cheek
worn. LIBERTY bold.
REVERSE: Light wear visible on wings
and head but some details show. Vertical
lines in shield complete but some are not
separated; horizontal lines worn in center.
VF-20 (Very Fine)
OBVERSE: Hair worn but major details
visible. Break on top line of coronet
extends over at least three letters in
LIBERTY. Cheek well worn. Stars worn but
show most details. LIBERTY clear but shows
wear.
REVERSE: About half of wing feathers
are visible. Very little detail shows in
head.
FINE (Moderate to heavy even wear.
Entire design clear and bold.)
F-12 (Fine)
OBVERSE: Hair and cheekbone smooth.
Top line of coronet worn. Some details
show in stars. LIBERTY worn but visible.
REVERSE: Wings show very little detail.
Head and one claw outlined only, with no
details visible. Neck is almost smooth.
Most of shield lines merge. (In the 1866
through 1907 group, the motto is worn but
readable.)
Note: Coins of this type are seldom
collected in grades lower than Fine.
EAGLES—INDIAN
HEAD 1907–1933
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance. Any unusual
die or planchet traits must be described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemish.
Has full mint luster and brilliance but may
show some slight discoloration. A few
minute bag marks and surface abrasions
may be present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. Has full mint luster but
may lack brilliance. Surface may be
lightly marred by minor bag marks and
abrasions. Check points for signs of wear:
above eye, cheek, wing.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: There is a trace of wear
above eye.
REVERSE: Trace of wear visible on
wing. Three-quarters of the mint luster is
still present.
AU-50 (About Uncirculated)
OBVERSE: There is a trace of wear on
hair above eye and on forehead.
REVERSE: Trace of wear visible on
wing. Half of the mint luster is still
present.
EXTREMELY FINE (Light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: There is light wear on hair
above eye and on forehead, and on
cheekbone.
REVERSE: Light wear shows on wing
and head. Part of the mint luster is still
present.
EF-40 (Extremely Fine)
OBVERSE: Light wear shows on hair,
cheekbone, and feathers.
REVERSE: Light wear visible on wing
and head. Traces of mint luster will show.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: There is light wear along
forehead, but most detail shows. Moderate
wear visible on cheekbone. Light wear
shows where feathers meet headband.
REVERSE: Left wing shows more than
half the details. Some details in head are
visible.
VF-20 (Very Fine)
OBVERSE: About half the hair detail is
visible. Moderate wear shows on
cheekbone. Some feathers do not touch
headband.
REVERSE: There is moderate wear on
left wing, which shows only about onequarter detail. Head almost smooth. All
lettering bold.
FINE (Moderate to heavy even wear.
Entire design clear and bold.)
F-12 (Fine)
OBVERSE: Hair smooth with no details;
cheekbone almost smooth. No feathers
touch headband but most feather details
visible.
REVERSE: Left wing top and head are
worn smooth. Lettering worn but visible.
Note: Coins of this type are seldom
collected in grades lower than Fine.
DOUBLE EAGLES—
LIBERTY HEAD
1850–1907
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance. Any unusual
die or planchet traits must be described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemishes.
Has full mint luster and brilliance but may
show slight discoloration. A few minute
bag marks and surface abrasions are
usually present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. Has full mint luster but
may lack brilliance. Surface is usually
lightly marred by minor bag marks and
abrasions. Check points for signs of wear:
hair, coronet, eagle’s neck and wing, top
of shield.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: There is a trace of wear on
hair.
REVERSE: Trace of wear visible on
wing tips and neck. Three-quarters of the
mint luster is still present.
AU-50 (About Uncirculated)
OBVERSE: There is a trace of wear on
hair at top and over eye, and on coronet.
REVERSE: Trace of wear visible on
wing tips, neck, and at top of shield. Half
of the mint luster is still present.
EXTREMELY FINE (Light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: There is light wear on hair
and coronet prongs.
REVERSE: Light wear shows on edges
and tips of wings, on head and neck, and
on horizontal shield lines. Part of the mint
luster is still present.
EF-40 (Extremely Fine)
OBVERSE: Light wear shows on hair,
coronet prongs, and cheek.
REVERSE: Light wear visible on wings,
head, neck, horizontal shield lines, and
tail. Traces of mint luster will show.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: About one-quarter of hair
detail below coronet visible; half the
detail shows above coronet. Cheek and
some coronet prongs worn. Stars show
wear but all details visible.
REVERSE: Most of wing details visible.
Top part of shield shows moderate wear.
About half the details in tail visible.
VF-20 (Very Fine)
OBVERSE: Less than half the hair detail
above coronet visible. About half the
coronet prongs are considerably worn.
Stars are flat but show most details.
LIBERTY shows wear but is very clear.
REVERSE: Some wing details visible.
Shield shows very little detail at top. Tail
is worn with very little detail.
FINE (Moderate to heavy even wear.
Entire design clear and bold.)
F-12 (Fine)
OBVERSE: All hairlines are well worn
with very little detail visible. One-quarter
of details within coronet visible. Stars
show little detail. LIBERTY readable.
REVERSE: Wings show very little detail.
Head and neck smooth. Eye visible. Tail
and top of shield smooth.
Note: Coins of this type are seldom
collected in grades lower than Fine. The
hair curl under the ear is sometimes
weakly struck.
In the group between 1866 and 1876,
the reverse motto is sometimes weakly
struck.
Pieces made at the Carson City Mint
are usually found weakly struck and
heavily bag marked.
DOUBLE EAGLES—
SAINT-GAUDENS
1907–1932
MINT STATE (Absolutely no trace of
wear.)
MS-70 (Perfect Uncirculated)
A flawless coin exactly as it was minted,
with no trace of wear or injury. Must have
full mint luster and brilliance. Any unusual
die or planchet traits must be described.
MS-65 (Choice Uncirculated)
No trace of wear; nearly as perfect as
MS-70 except for some small blemishes.
Has full mint luster and brilliance but may
show slight discoloration. A few minute
bag marks and surface abrasions are
usually present.
MS-60 (Uncirculated)
A strictly Uncirculated coin with no trace
of wear, but with blemishes more obvious
than for MS-65. Has full mint luster but
may lack brilliance. Surface is usually
lightly marred by minor bag marks and
abrasions. Check points for signs of wear:
forehead, breast, knee, nose, eagle’s
wings and breast.
ABOUT UNCIRCULATED (Small
trace of wear visible on highest points.)
AU-55 (Choice About Uncirculated)
OBVERSE: There is a trace of wear on
left breast and left knee.
REVERSE: Trace of wear visible on high
point of wing. Three-quarters of the mint
luster is still present.
AU-50 (About Uncirculated)
OBVERSE: There is a trace of wear on
nose, breast, and knee.
REVERSE: Trace of wear visible on
wings. Half of the mint luster is still
present.
EXTREMELY FINE (Light wear on
only the highest points.)
EF-45 (Choice Extremely Fine)
OBVERSE: There is light wear on
forehead, nose, breast, and knee.
REVERSE: Light wear shows on wings
and breast, but all feathers are bold. Part
of the mint luster is still present.
EF-40 (Extremely Fine)
OBVERSE: Light wear shows on
forehead, nose, breast, knee, and just
below left knee. Drapery lines on chest
visible.
REVERSE: Light wear visible on wings
and breast but all feathers bold. Traces of
mint luster will show.
VERY FINE (Light to moderate even
wear. All major features are sharp.)
VF-30 (Choice Very Fine)
OBVERSE: There is light wear on all
features, extending above and below left
knee and along part of right leg. Some of
garment lines on chest are visible.
REVERSE: Light wear visible on left
wing and breast; feathers show but some
are weak.
VF-20 (Very Fine)
OBVERSE: Forehead moderately worn.
Contours of breast worn. Only a few
garment lines on chest are visible. Entire
right leg shows moderate wear.
REVERSE: Half of feathers are visible in
wings and breast.
FINE (Moderate to heavy even wear.
Entire design clear and bold.)
F-12 (Fine)
OBVERSE: Forehead and garment
smooth; breasts flat. Both legs worn with
right bottom missing.
REVERSE: Less than half the wing details
are visible. Only a little breast detail is
visible.
Note: Coins of this type are seldom found
in grades lower than Fine.
COLONIAL COINS,
PATTERNS, AND TOKENS
HISTORY
The history of our coinage begins not
with the first federal issues but with the
coin used earlier by colonists. This period
in American coin use, from the
exploration of Florida and the first
Virginia settlements up to 1792, spans 200
years and is considered one of the most
fascinating specialties for collectors. It is
rich in types, designs, and methods of
production. While a great deal of colonial
coinage is rare, some fall into the
moderate price range. Here are historical
objects of undisputed significance,
purchasable in some cases for less than
the cost of key-date modern coins. The
celebrated Rosa Americana, circulated
before George Washington was born, can
be had in good condition for less than
$100. Even some of the 17th-century
“elephant tokens” sell for under $100,
though this series also includes rarities of
high price. The belief that colonial
coinage is only for the wealthy just isn’t
so.
The story of this nation’s beginnings is
probably better told by its early money
than by any other antiquities. Pilgrim
settlers are often pictured as hunters and
trappers living off the land. This is partly
true, but even in the 1600s there were
cities with shops and a real need existed
for coinage. When nothing better was
available the old barter system was
resorted to, as used in ancient times, with
goods traded for other goods of similar
value. In Massachusetts, iron nails were
accepted as legal tender, as well as Indian
wampum (shells strung together on cords,
each having a set value). As early as the
1640s, twenty years after the Mayflower,
serious thought was given by the Bay
Colony to striking its own money. In 1652
the Massachusetts General Court
authorized experimental efforts in this
direction, the first attempts being no more
than rough metal discs stamped with small
symbols. Compared to Europe’s elaborate
coinage they were meager but proved that
this country had the ability to produce a
medium of exchange. These were
followed by improved domestic efforts as
well as importation of coins from abroad,
struck expressly for colonial use. These
include the Lord Baltimore coins of
Maryland and the Colonial Plantation
token. By the 17th century’s close, a
variety of coins and pseudocoins
circulated. Some were private or
merchant tokens of British or Dutch
manufacture. These were largely
speculative issues brought to this country
in large quantities by persons hoping to
acquire vast land parcels. There was little
confidence in the integrity of such coinage
but it was nevertheless accepted on the
basis of weight.
Coins of both England and Spain,
brought over by immigrants and traders,
circulated pretty freely. Other foreign
coins were also met with. Rather than
being changed at face value they were, in
the early years, valued at metal content,
every merchant having a scale to weigh
coins brought to him. Spain’s dollar or
“piece of eight” became the most familiar
coin in the colonies, replaced thereafter
by the coins of Great Britain. By the time
of the Revolution, probably as many as
90% of the coins in American circulation
were of British mintage.
Because colonial coins and tokens were
not issued by a central government and
were produced under challenging
conditions, standardization cannot be
expected. Sizes, denominations, and
quality of workmanship all vary,
sometimes to an extreme degree. Included
are crude pieces hardly recognizable as
coins and works of considerable artistic
merit. Some were not milled but
hammered, struck by hammering the dies
into metal blanks just as the Romans and
Greeks made their coins 2,000 years ago.
They also vary in scarcity. The collector
should not be duped into paying inflated
prices for coins merely on the grounds of
their being pre-Revolutionary. This in
itself is no assurance of rarity. Each issue
has its own established value, as shown in
the listings section of this book.
Allowance must be made for the condition
of hammered pieces (whose shape will be
somewhat irregular) and for specimens of
great rarity, as these are almost
impossible to find in the kind of condition
one would expect of later coins. On the
whole, condition standards are less rigid
for colonial than federal issues. On the
other hand, the buyer should not accept
badly damaged examples in the belief that
nothing better can be found.
The most extensively circulated—and
faithfully trusted—coin of early colonial
America was the Spanish silver dollar or
“piece of eight.” Introduced to this country
by the Spanish explorers and later
imported in abundance by traders, it had a
value of eight reals, each real or “bit”
being worth 12½ cents. Thus, the quarter
or 25-cent piece came to be known as
“two bits.”
The
following
pages
contain
descriptions and price valuations for most
types of monies used in the American
colonies, excluding foreign coins intended
to serve currency needs abroad. Most can
only be classed as tokens, as they either
had no face value or were struck without
government sanction. These include
merchant pieces and other speculative
issues. However, the colonists, being
ever-resourceful, attempted from time to
time to strike semiofficial or official
coinage, and these will be found listed as
well. Colonial coinage on the whole is not
handsome. It was generally produced
under conditions inferior to that of
government-issued money, often designed
and struck by persons who had little or no
prior experience in such work. It is,
nevertheless, of great interest from both a
numismatic and historical point of view
and much of it is extremely rare. As a
general rule, the collector should be wary
of counterfeits and reproductions, as the
majority of these pieces have at one time
or other been copied, either as legitimate
souvenirs or fraudulently.
SOMMER ISLANDS
(BERMUDA)
This so-called “hog money” is thought
to be the first coinage of the American
colonies. A hog is pictured on one side
and a sailing vessel on the other. The
workmanship is English. Hogs were not
native to the islands but introduced around
1515 by the Spaniard Juan Bermudez,
from whom Bermuda takes its name. They
apparently increased and multiplied vastly
within the next hundred years, serving as
an important article of food for the
inhabitants. The suggestion that the coins
were intended to represent the market
value of a hog, just as early Greek coins
were sometimes stamped with a likeness
of an animal whose price they equaled, is
no longer given serious consideration. It
was used merely as an emblem. These
coins are of lightly silvered brass,
inscribed SOMMER ISLANDS. The edges are,
as to be expected, irregular, having been
produced by the hammering technique
rather than milling.
MASSACHUSETTS–NEW
ENGLAND COINAGE
This is the earliest coinage struck on the
North American continent. This crude
coinage may not be appealing
aesthetically but its historical significance
is as great, or greater, than any coins
subsequently issued in this country. It was
produced in limited quantities for local
circulation in the Boston area and is
extremely rare. When the decision was
reached to attempt a native currency, the
Massachusetts General Court appointed
John Hull “mintmaster.” The “mint” was
an iron works operated by Joseph Jenks at
Saugus, just north of Boston. These coins
were made of silver by the ancient
process of hammering—beating the
designs into them by holding the die
against the metal blank and striking it with
a mallet. There was, in fact, no design at
all. The coins were issued in three
denominations—threepence, sixpence, and
twelvepence (shilling)—and each carried
the letters NE on one side and the value in
Roman numerals on the other, most of the
surface being blank. Variations in size,
shape, and placement of the markings are
common. They date to 1652, but no date
appears upon them.
WILLOW TREE COINS
After about four months of circulation
of the Massachusetts–New England
coinage, it was decided they were
unsatisfactory. The legend and numeral of
value were so simplistic that anyone
possessing smith’s tools could reproduce
them. There was the further problem—not
a new one, as it was faced by English
Mints in the Middle Ages—that the large
expanses of unstamped metal invited
“clipping,” a practice in which
unscrupulous persons trimmed down the
edges and collected quantities of silver
while still passing the coins at face value.
It was impossible to improve the method
of manufacture, there being no milling
machines available. But the designs could
be improved by the use of more fully
engraved dies. This was accomplished
with the so-called Willow Tree coinage,
introduced in 1653. On the obverse
appears a very abstract rendition of a
willow tree, surrounded by the place
name, with the date and value designation
on the reverse (III stood for threepence, VI
for sixpence, and XII for shilling).
Although struck at odd moments from
1653–60 (there was no regular or
continuous production), all specimens are
dated 1652.
OAK TREE COINS
Successors to the Willow Tree coins,
Oak Tree coins were likewise of
Massachusetts origin and, like them,
showed a tree on the obverse with the date
and numeral of value on the reverse. They
were introduced in 1660, the year of the
English Restoration (the return of the
Stuarts to the throne), an event of no small
significance numismatically. While the
previous regime, the Protectorate of
Oliver Cromwell, was composed of
politicians who supported the pilgrim
cause, there was genuine fear that the new
king—Charles II—might deal harshly with
the colonists for being so bold as to strike
coins. They attempted to camouflage this
activity by retaining the old date, 1652,
during the eight years that Oak Tree coins
were struck; and, in fact, it remained
unaltered for the sixteen years of their
successors, Pine Tree coins. In terms of
design, these Oak Tree coins were an
improvement on their predecessors, being
much sharper and bolder. Whether this can
be attributed to more deeply engraved
dies, more careful hammering, or (a
usually overlooked possibility) better
annealing or heating of the blanks, is
uncertain. The mintmaster was still the
same: John Hull. But this much is sure: the
Oak Tree coins were turned out in far
larger
quantities
than
previous
Massachusetts coins.
PINE TREE COINS
The final version of the Bay Colony
“tree” coin, the Pine Tree coin featured a
much clearer, if not more botanically
accurate, portrait of a tree. Though struck
in the same three denominations as the
earlier types, there is a Large Planchet and
Small Planchet version of the shilling, the
Large being slightly rare. Both are of the
same weight; the metal was simply
hammered thinner on the Large Planchet. It
had been demonstrated, by the use of large
planchets for the Willow and Oak Tree
shillings, that the coin did not stand up
well to handling and could be rendered
sturdier by reducing its size and thereby
increasing the thickness. It was also
possible to strike the design more deeply
with a thicker planchet. All coins from
this series are dated 1652. They were
actually struck from 1667–82, during the
reign of Britain’s Charles II. After 1682
the issuing of coinage was discontinued by
the Bay Colony. Many varieties exist in
this series.
MARYLAND
Maryland was the second colony, next
to Massachusetts, to have coinage of its
own. The origins of these coins bear little
relation to those of the Bay Colony. While
the Massachusetts pieces had been
natively designed and struck, Maryland’s
coins were entirely a foreign product.
They date from 1658. At this time
Maryland was very sparsely inhabited, its
only residents being small colonies of
English immigrants, and could not have
suffered too seriously from a shortage of
coinage. Though not strictly classified as
private issues they might well merit that
designation. Maryland’s first coins were
the brainchild of Cecil Calvert, Lord
Baltimore (for whom the colony’s chief
city was named). Calvert did not, as
popularly supposed, “own Maryland.” He
did, however, possess large areas of its
land and had the title of Lord Proprietor of
Maryland. As an English lord with typical
lordly pride, Calvert looked with disdain
upon the prospect of Englishmen—his
subjects, technically—trading with beads
or iron or other objects of barter. So he
ordered a batch of English-quality coins to
be struck in Britain for use in the colony.
They comprised a shilling, sixpence,
fourpence or groat, and a penny. The first
three were of silver, following the British
tradition, the penny in copper. As a result
of their production in an established,
well-equipped Mint, these coins are
considerably
more professional in
appearance than those of Massachusetts.
Lord Calvert placed his own portrait upon
them. There was no need to fear censure
from the king for this brazen act, as the
English Civil War had already swept the
king (Charles I) from his throne and
Britain was not again to be ruled by a king
until 1660. The reverses of the silver
pieces carry Calvert’s heraldic insignia
with the value in Roman numerals. The
penny’s obverse shows a regal crown
surmounted by staffs and banners. There is
no numeral of value on the penny but
instead the word “denarium,” the name of
an ancient Roman coin from which the
British penny evolved. (To this day the
symbol for “penny” in Britain is the letter
“d,” meaning denarium. The cent sign, ¢,
is never used.) Lord Calvert’s portrait is a
shoulder-length bust without crown,
wreath of laurel, or other symbol of
rulership. The penny is the scarcest of the
denominations, as this is believed to have
been a pattern only, not actually placed in
use.
MARK NEWBY OR ST.
PATRICK HALFPENCE
The coinage shortage in the early
colonies, and the voraciousness with
which anything resembling coinage was
seized upon as a medium of exchange, is
clearly demonstrated by the Newby or St.
Patrick halfpence. The coins are really
misnamed, as they existed not only in
halfpence but farthing denomination (in the
British currency system, a farthing or
“fourthling” was equal to one-quarter of a
penny).
Mark Newby was neither an explorer
nor royal governor but apparently a
private Irish citizen who came from
Dublin and settled in New Jersey in the
year 1681. He brought with him a quantity
of tokens—they could only very charitably
be called coins—which are thought to
have been struck at Dublin about eight
years earlier. These were coppers. On the
obverse they depict a crowned king
kneeling and playing a harp, almost
certainly intended as the biblical King
David, who is often represented in art as a
harpist. St. Patrick, the legendary and
patron saint of Ireland, appears on the
reverse. On the halfpence he holds a
crozier and cross (often mistaken for a
clover) while giving benediction to a
worshiper; on the farthing he is shown in a
similar pose, driving the snakes out of
Ireland, one of the many accomplishments
with which this saint is credited. The
obverse legend is FLOREAT REX, which can
be translated as “Prosperity to the King.”
These are not at all bad-looking pieces
and they feature an intriguing detail: The
large crown on the obverse was inlaid in
brass, to contrast in color with the copper
and give the appearance of being golden.
It is, however, sometimes lacking. The
origin of this St. Patrick money is not
clearly known. The possibility that it was
struck for circulation in America seems
very remote, as (a) there is no record of
supportive legislation on either side of the
Atlantic, and (b) the coins were
apparently not brought to this country until
long after striking, which hardly would
have been the case had they been designed
for use here. In any event, the General
Assembly of the New Jersey Province
authorized their use as legal tender in May
1682, and for some while thereafter they
served as the common currency of New
Jersey. The most logical conclusion to be
drawn is that Newby was a commercial
trader who sought to profit from the
shortage of coinage in America, and that
he settled in New Jersey because this area
was virtually without money of any kind.
If so, he would not have been the only
colonist to do this. Silver and gold
patterns of the farthing were struck, of
which the silver is very rare and the gold
unique. There may have been similar
patterns of the halfpenny, but they have not
been discovered. In their normal metal—
copper—neither is a coin of extreme
scarcity.
COLONIAL PLANTATION
TOKEN
The so-called Plantation token was the
first coinage authorized for use in the
American colonies by the British
government. Its history is of great interest.
Throughout the middle 17th century it was
well known in England that the American
provinces, or “plantations” as they were
called abroad (largely by persons
unaware of the extent of population),
suffered from a shortage of coinage. In
1688 an Englishman named John Holt
petitioned the king (James II) for a patent
or franchise for the striking of coinage for
distribution in the colonies. In Britain at
this time the system of “patents of
exclusivity” was commonplace. Printers
would pay a fee to have the exclusive
right on putting out Bibles; merchants paid
for a franchise to sell a particular product
without fear of competition. The fee,
which was considerable, had to be paid
each year while the franchise was in
force. Holt was convinced that the supply
of coinage to America would be a very
profitable endeavor. The government
approved his request for a franchise and
shortly thereafter he began to strike his
coins, better called tokens. Large in size,
they were made of tin and had the face
value of one-quarter of a Spanish real or
“piece of eight,” about fourpence. On their
obverse they pictured an equestrian
likeness of James II, regal-looking in this
design but soon to be driven out of the
country into exile. It is important to note
that they were not intended for use in any
special region but could be exchanged
anywhere in the provinces; thus, they carry
no place name. The original dies were
preserved and restrikes made from them in
the late 1820s; their appearance is quite
similar to the original and could well be a
cause of confusion to beginners. A very
rare variety exists, in which the numeral
“4” in the value legend on the reverse is
positioned
vertically
instead
of
horizontally.
ELEPHANT TOKEN
These extremely popular, intriguing
pieces have been the subject of much
study and debate. Their origins are only
sketchily known. There are three specific
types: London token, Carolina token, and
New England token. All have the same
obverse, a portrait of an elephant without
legend or inscription of any kind. These
pieces are coppers and were modeled as
halfpennies, though they carry no
indication of value. The extent to which
they circulated in the American colonies
is not established. Based on what little
information is available, their history may
be pieced together as follows.
First in the series was the London
token, which on some specimens carries
the wording GOD PRESERVE LONDON on the
reverse, on others merely LONDON,
accompanying a heraldic shield. The
belief is that they were struck in 1664
when the population of that city was being
decimated by an outbreak of bubonic
plague, which apparently is the danger
from which preservation was sought. So
far this theory makes some historical
sense, though it fails to explain the
selection of an elephant as the obverse
symbol. Could it be that this was a
reference to “stamping out” the plague,
and that the elephant, as the largest of
creatures, would be best equipped to do
so? That elephants were well known in
London in the 1660s is well established.
There were no zoos for the display of
wild beasts but elephants and tigers (both
from India) were kept in enclosed
dungeons in the Tower of London for the
amusement of visitors. Natural history
drawing was still in an archaic state at
that time, which explains why the elephant
on Elephant tokens looks rather strange.
For a long while thereafter there appears
to have been no effort to revive the
Elephant token, perhaps because the
plague subsided. Then in 1694 it
reappeared, in an edition bearing two
different reverses: GOD PRESERVE CAROLINA
AND THE LORD’S PROPRIETORS and GOD PRESERVE
NEW ENGLAND. Just how these pieces came
to be, what their intent was, and how they
were circulated is totally unknown. It may
be presumed that GOD PRESERVE was used
merely in the sense of “God Bless,” after
the fashion of the slogan “God Save the
King,” not as implication that either
Carolina or New England suffered from
any specific difficulty.
There is little doubt, based on physical
evidence, that they were struck in
England, as these tokens are handsomely
milled (not hammered) and it is doubtful
that such work could have been
accomplished in the colonies. It has been
said that the London variety was intended
for circulation in Tangier, but even if that
were so, there is no evidence of it being
an official issue. The Carolina and New
England pieces could have been entirely
speculative. Their distribution may have
been local (in England) with no intention
of exporting or using them for actual
currency in the colonies. This seems the
logical answer, especially in view of the
extremely small quantities struck. Of the
London token there were considerably
larger numbers struck, but to classify this
as a piece designed for colonial use seems
very presumptive. Some specimens
undoubtedly reached the colonies at an
early date but, if they did, it was only
accidentally, in the baggage or pockets of
immigrants or traders, just as almost
everything else made abroad found its
way across the Atlantic.
There are a number of types and
varieties. The London token exists in both
thin and thick planchet; with interlacing in
the central portion of the shield; with
sword in the second quarter of the shield
(transposed from the first, where it is
commonly found); and with the inscription
LONDON rather than GOD PRESERVE LONDON. Of
these, the transposed sword is the rarest.
The chief variety of the Carolina issue is
the alteration from PROPRIETERS to the more
correct spelling, PROPRIETORS, accomplished
not by the introduction of a fresh die but
re-engraving the original. If closely
inspected, the letter “E,” or what remains
of it, can be observed.
NEW YORKE TOKEN
The New York colony (referring to the
state, not the city) had no coinage of its
own in the 17th century. Though settled
somewhat later than Massachusetts, New
York came close to equaling it in
population by the century’s close, and the
volume of business transacted was at least
comparable. It is curious that tiny
Maryland and equally tiny New Jersey
had coins during the 17th century while
New York did not. The closest it came to
having one was the New Yorke token, but
this can hardly be classed with the
Massachusetts, Maryland, or even the
New Jersey coinage, as there is no
evidence it received official sanction. It
was very likely nothing more than a
merchant token. This is a smallish piece,
roughly equal to our nickel, of which some
were struck in brass and others in pewter.
On the obverse it carries a rather scrawny
eagle with an allegorical design (Cupid is
one of the figures) on the reverse. The
obverse legend reads NEW YORKE IN AMERICA .
Of its origins practically nothing is
known. The belief that this coin was
struck in Holland is founded more upon
assumption, because of New York’s
extensive Dutch population, than
evidence. Its date has been the subject of
controversy. The spelling of New York as
“New Yorke” suggests a dating in the 17th
century, but as this spelling lingered on
into the 18th century it is quite possible
that the coin or token is not as old as
commonly presumed. It is very likely that
even in the second quarter of the 18th
century a European designing such a piece
would have used the “New Yorke”
spelling, even if it was no longer current
in America. The likelihood that the New
Yorke token was struck in Manhattan from
dies prepared in Holland is a romantic but
not convincing theory.
GLOUCESTER TOKEN
Very few specimens exist of this early
amateur token and information about it is
likewise scanty. It is apparently the first
private token struck on American soil. The
composition is brass, leading to the
assumption that it might have been a
pattern for a silver shilling that was never
produced. Whether the brass pieces were
intended to circulate is highly doubtful.
The Gloucester token is thought to have
been the work of Richard Dawson of
Gloucester, Virginia. On one side appears
a five-pointed star, with a building of
modest design on the other. Known
specimens are so thoroughly worn that the
inscription surrounding this building is
unreadable. The best guess is that it was
intended to represent the Gloucester
County Courthouse or some other public
structure. It does not appear to be a place
of worship. The Gloucester token dates to
1714.
ROSA AMERICANA
These extremely handsome coins,
thoroughly European in appearance and
workmanship, are often referred to as
Wood tokens—not from being made of
wood (their composition is copper, zinc,
and silver) but from William Wood, the
Englishman who originated them. Nearly
forty years before their appearance, John
Holt, another Englishman, had gained a
patent from the then-king, James II, to
strike coinage for circulation in the
American colonies. Upon expiration of the
Holt patent or franchise there had been
little enthusiasm for its renewal, as Holt’s
coins—the so-called Plantation tokens—
had not proved very successful. As time
passed and the population of such cities as
Boston, New York, and Philadelphia
increased, the prospects for coinage
seemed to brighten. William Wood, of
whom there is not very much known,
obtained a franchise from George I to
supply coinage to America, as well as to
Ireland. This resulted in the Rosa
Americana tokens. These were struck in
small denominations only, from a
halfpence to twopence. The earliest,
which apparently were struck in 1722,
carried no date. Later a date was added
and these pieces saw fairly large
production in the years 1722, 1723, and
1724. After an interval of nearly ten years
in which none were produced, a Rosa
Americana pattern proof was struck off in
1733. As best as can be ascertained, the
Wood patent had fallen into other hands,
as Wood died in 1730. His successors
probably toyed with the idea of
reinstituting the Rosa Americana coins but
never got beyond the stage of this single
proof.
To judge by the relative commonness of
the coin (except for certain varieties,
which are rare), they must have been
turned out at least in the hundreds and
possibly the thousands. The obverses are
all alike, picturing George I in profile
facing the viewer’s right (it was switched
to the left on the 1733 trial proof). This is
not the king against whom America went
to war in the Revolution but the first
English monarch of that name, a German
who could speak but a few words of
English. Surrounding the portrait is,
generally, a legend giving the names of the
countries over which the king ruled: Great
Britain, France, and Hibernia (Ireland).
The claim that he ruled France was a
purely speculative one, a reference to the
victories of Marlborough over Louis
XIV’s armies, which had ended France’s
ambition to capture England but in no way
gave England rulership over that nation.
The reverse shows the rose, sometimes
alone, sometimes surmounted by a crown.
There is one variation (on the 1724 penny)
where the rose is not pictured
symbolically but as an actual flower
growing up from the ground. These pieces
gain their name from the reverse
inscription, not present on all, reading
ROSA AMERICANA UTILE DULCI , or, roughly,
“American Rose, utility and pleasure.”
The rose had been a symbol of the Tudor
kings and queens well before colonization
of America. In their extent and variety the
Rosa Americana coins are unmatched by
any others intended for circulation in
America. The opinion held of them today
was not shared by colonists, however,
who protested that the coins were shortweighted and refused to accept them.
WOOD’S COINAGE OR
HIBERNIA
These coins, more properly called
tokens, were issued under the patent
granted to William Wood to strike coinage
for America and Ireland (see Rosa
Americana). Hibernia was the Latin name
for Ireland. They are included here
because these pieces proved unpopular in
Ireland—just as did the Rosa Americanas
in America—and Wood sought to recover
his investment by circulating them in
America. History does not record their
fate on this side of the Atlantic but it is
doubtful that they received a warm
reception. They were struck in such
enormous numbers, thanks to excessive
overconfidence, that most types can be
had inexpensively. George I appears on
the obverse. There are two reverse types,
both picturing a seated female with a harp
representing Hibernia, the Irish equivalent
of Britannia. There is no need to speculate
on the reason for Type I being changed:
the figure is portrayed in so ungainly a
manner as to appear comical. Type II is
only a slight improvement.
HIGLEY COINAGE
The Higley or Granby tokens were
entirely private issues. Had they been
imported for circulation from abroad they
might be of modest interest at best but
these are, in fact, the first privately
produced tokens struck on American soil
that actually reached circulation. All are
extremely rare. Dr. Samuel Higley, a
Connecticut resident and graduate of Yale
University, deplored the coinage shortage
in his state and took matters into his own
hands. Unsupported by legislation and
unsponsored by government funds, Higley
engraved his own dies and for coin metal
used copper from a mine he owned
located near Granby, Connecticut (hence
the alternate title of these pieces).
Considering their amateur origin, the
designs and workmanship are of higher
quality than might be expected. On the
obverse appears a deer surrounded by
inscription. There are two reverse types,
one featuring a trio of small hammers, the
other a broad-bladed cleaver. As
originally issued in 1737 they carried the
value of threepence, stated on the obverse
legend. Though well received at first,
protest was later raised by persons
skeptical of their copper content. This
inspired the ever-resourceful Higley to
add the inscription, I AM GOOD COPPER. When
this failed to silence critics, who persisted
in their belief that the face value was too
high and that Higley was gaining a profit
from circulating them, the statement of
value was replaced by the not-too-subtle
suggestion to VALUE ME AS YOU PLEASE . Even
so, the Roman numeral III remained. This
placed them in the category of bartering
pieces that could be exchanged on the
basis of weight. We are told that the local
supply was numerous, but this is hardly
reflected by their present rarity. It can
only be assumed that many individuals
hoarded the Higley tokens and melted
them. The inscription on the second
reverse type (the cleaver) states I CUT MY
WAY THROUGH . The “I” is sometimes stated
to be a “J,” but in fact was intended
merely to represent an ornamental “I” with
loop at the base.
The collector is cautioned that
reproductions of the Higley tokens exist,
made by electrotyping and casting, and are
of sufficient quality to confuse an
inexperienced buyer.
VOCE POPULI COINAGE
These
impressive
pieces
are
exclusively private issues and not of
American origin. They were struck in
Dublin, Ireland, in 1760, by a firm whose
chief occupation was the making of
buttons for military uniforms. Its
proprietor was named Roche. The 17th
and 18th centuries both witnessed an
inordinate quantity of private tokens and
pseudomoney struck in Ireland, much of
which reached America. It could all
logically be included within the realm of
Americana but the Voce Populi tokens
have become special favorites of
collectors, probably on strength of design
more than anything else. The obverse
features a classical-style portrait profile
crowned with laurel wreath. It has
traditionally been assumed to be George
III but no actual evidence exists to support
this belief. The inscription makes no
reference to the king but merely carries the
w o r d s VOCE POPULI, or “Voice of the
People.” Various interpretations (too
lengthy to be discussed here) could be
placed upon the use of this common
slogan. The reverse pictures a female with
harp, a standard Irish symbol, and the
word HIBERNIA. This was the Latin name for
Ireland. The date is shown in the exergue
beneath the figure. It should always be
1760; however, on one occasion a
defective die was used for the halfpenny,
causing it to read 1700. That the token
was actually struck in 1700 can easily be
refuted on stylistic as well as other
evidence. There is also a variety in which
the inscription reads VOOE POPULI.
PITT TOKENS
William Pitt, for whom Pittsburgh is
named, is associated with these tokens
only to the extent that his portrait appears
on them. He apparently was connected in
no way with their issuance. Two
denominations were struck, or rather
pieces in the sizes of two denominations
(as they bear no value markings): farthing
and halfpenny. They carry the date 1766.
Just what their purpose was is not clear.
The suggestion has been put forward that
they were issued in the nature of medals
as an honor to Pitt, who, for his stand
against the British stamp tax, was held in
high regard by agitators for selfgovernment. The long-held popular belief
that Pitt tokens were designed by Paul
Revere would probably be best relegated
to the ranks of numismatic folklore until
some firm evidence is discovered. The
similarly long-held belief that the
engraver was Smithers of Philadelphia is
more acceptable. The obverse has Pitt’s
likeness in profile with the legend NO
STAMPS: THE RESTORE OF COMMERCE: 1766. The
reverse shows a handsomely rendered
sailing ship with the inscription THANKS TO
THE FRIENDS OF LIBERTY AND TRADE . Next to the
ship is the word AMERICA, which
apparently suggests that the vessel is
traveling from some foreign port with
cargo for this country. “The Restore of
Commerce” was a reference to the fact
that British-imposed taxes were periling
American commerce by rendering goods
so costly that the public could not buy
nearly as much as it wished to. The
halfpenny is known to have been used
briefly as coinage. No such use has been
established for the farthing, which is much
rarer.
FRENCH COLONIES IN
AMERICA
A number of coins were struck in
France for use in that nation’s colonies
during the 18th century. These were nongeographical pieces that could be
exchanged in any French province and
carried inscriptions in French and Latin
rather than in local languages. It is
important to remember in collecting these
coins that they were not expressly struck
for use in America, though they did see
use in areas such as Louisiana (named for
Louis XIV).
VIRGINIA
Plagued
by
a
coinage
shortage,
Virginia’s colonists petitioned George III
for supplies of trading pieces. He
responded by authorizing the striking of a
copper halfpenny, with his likeness on the
obverse and the Virginia seal on its
reverse. Proposals were also made for a
penny and shilling, or coins which, to
judge by the size of the few specimens
struck, were intended for these
denominations. They never reached
circulation and are very rare. The
halfpenny was struck in large quantities.
STATE OF NEW
HAMPSHIRE
New Hampshire has the distinction of
being the first state to attempt a local
coinage following the Declaration of
Independence. In 1776 it authorized
William Moulton to produce an
experimental batch of copper pieces. The
small numbers that have been traced
indicate this coin never attained general
circulation, though it probably circulated
in a small way. The chief type has a tree
on the obverse and a harp on the reverse.
Other types are known but their status has
not been positively established.
STATE OF VERMONT
Vermont’s postrevolutionary coinage,
probably the best known for its designs of
any regional pieces, was struck by Reuben
Harmon of Rupert, Vermont, and some by
Thomas Machin of Newburgh, New York.
This extensive series most often employed
portraits of George III but is best known
for its “plough money,” an obverse design
picturing a farm plough in a field against a
background of tree-laden mountains. This
is sometimes referred to as the most
original, creative, and authentically
American design to be found on our
colonial or federal-era coins. William
Coley, a New York goldsmith, was the die
cutter for this design.
STATE OF CONNECTICUT
Connecticut struck more coins in the
period from the Revolution to the
establishment of a federal currency than
any other state. Or, it might be better put,
more varieties, as they represent numerous
variations of three basic issues. The Mint
at which they were struck was established
by authority of the state in 1785. It was
located at New Haven. The chief die
cutters were Abel Buel and James Atlee.
STATE OF NEW JERSEY
No coinage was struck for New Jersey
in the colonial period (but see Mark
Newby halfpence). As the state’s
population increased, a serious coin
shortage was experienced and, on June 1,
1786, its legislature authorized the striking
of three million copper pieces, each to
weigh “six pennyweight and six grains
apiece.” The contract for these tokens was
awarded to Thomas Goadsby, Walter
Mould, and Albion Cox. The full quantity
was to be delivered by June 1788, with
partial deliveries to be made in quarterly
installments of 300,000 each. Soon after
work had begun, Goadsby and Cox
requested and were granted permission to
divide up the quantities and strike them
separately, each operating his own
facility. Mould set up at Morristown, New
Jersey, Cox at Rahway. Goadsby’s
location is not established but is thought to
also have been Rahway. The obverses of
all these tokens show a horse’s head and a
plough, symbolic of the state’s economy
being founded largely on agriculture. The
l e ge nd NOVA CAESAREA is simply New
Jersey in Latin. On the reverse is a U.S.
shield and E PLURIBUS UNUM. A number of
varieties are to be encountered.
STATE OF NEW YORK
The history of New York’s local
coinage prior to the Revolution reveals
only the supposed Dutch merchant token
discussed previously and various coins
and tokens struck for use elsewhere that,
in the ordinary course of trade, found their
way to the state. For more than 100 years
it was without locally authorized coinage.
This void was filled by Dutch, British,
French, and, to a lesser extent, Spanish
monies, which came to New York through
its great port and disseminated throughout
the region. Apparently no pressing need
was felt for a local coinage because none
was officially instituted, even after
independence. However, quantities of
privately struck money did circulate.
Some were the work of Thomas Machin of
Newburgh, New York (where Washington
had a headquarters during the war), who
operated what he surreptitiously called a
“hardware manufactory.” It was, in fact, a
copper mill, whose chief products were
tokens. Other New York coins were
produced at Rupert, Vermont, by a team of
millers (Reuben Harmon and William
Coley) who also made coins for Vermont
and Connecticut.
There is much yet to be learned about
New York’s federal-era coinage, but quite
a good deal has already been determined.
The theory, once popularly maintained,
that coins bearing the inscription NOVA
EBORAC are of foreign origin is now known
to be false. “Nova Eborac” is not some
sort of mysterious foreign term. It is
simply New York in Latin. (If you wonder
how there could be a Latin name for New
York, when there are none for railroad
and television and other things discovered
after the Latin language died, the
explanation is quite simple. The Romans
did not know of New York but they
certainly knew of old York in Britain,
which they called Eborac. To change this
into New York you need only add the
Latin word for new—nova—and you have
Nova Eborac.)
All the New York coins (or tokens) are
coppers. They carry various designs, of
which the portrait of George Clinton is
most famous. There was also an Indian
figure (not too impressively portrayed), a
New York coat-of-arms, and profile bust
pretty confidently believed to be George
Washington. Though the designs are not
very well drawn, the coins themselves are
very professionally struck.
BRASHER DOUBLOONS
Perhaps the most celebrated, at any rate
the most glamorized, U.S. colonial coin is
the
Brasher
doubloon.
Though
traditionally referred to as colonial it
should correctly be termed a federal-era
piece, as it was struck after our
independence had been gained. This is a
private issue. Ephraim Brasher was a
goldsmith from New York who became
acquainted with George Washington when
the latter resided there following the war.
To classify this handsome gold piece as a
speculative coin would be a mistake.
Brasher, artist and patriot, appears to have
manufactured it not for purposes of
general circulation but as a memorial to
the nation’s independence and, possibly, a
model from which federal coiners could
gain inspiration. It dates to 1787, before
the introduction of federal coinage but not
before much speculation and debate on the
matter. The Brasher doubloon, as the name
suggests, was modeled after the Spanish
coin of that name. It contained 408 grains
of gold. As a goldsmith, Brasher would
have encountered no difficulty securing
the needed bullion for a small quantity of
such pieces, but it is doubtful that he had
either the resources or intention to strike
this coin in large numbers. The obverse
pictures the sun rising over a mountain,
with the American eagle emblem on the
back. The reverse bears the impressed
letters E.B., the initials of Brasher’s name.
Obviously they were not clandestine
issues or their origin would not have been
so plainly identified. At the time of its
issue the Brasher doubloon had a value of
about $16. There was also a half
doubloon worth $8. All are extremely
rare, the variety in which the initials
appear on the eagle’s breast being
preserved in a single specimen only.
STATE OF
MASSACHUSETTS
Massachusetts, the first colony to strike
its own coins in pre-revolutionary days,
also had its own coinage in the period
between
independence
and
the
establishment of the U.S. Mint. On
October 17, 1786, the General Court of
that state authorized the setting up of a
Mint, “for the coinage of gold, silver, and
copper.” A stipulation was made that the
design for coinage should employ the
“figure of an Indian with bow and arrow
and a star on one side with the word
Commonwealth, on the reverse a spread
eagle with the words Massachusetts
1787.” The ambitiousness of this project
was never fully realized. While coppers
were struck in some quantities, a coinage
of silver and gold never appeared. In
1789 the Mint was abandoned, having
proven costly to operate.
MASSACHUSETTS PINE
TREE COPPER
The origin of this unique coin is
undetermined. Only one specimen is
known, undoubtedly a pattern piece, and
but for the greatest of good luck it would
have been undiscovered. It turned up,
buried beneath a Boston street, during an
excavation in the 1800s, having probably
been entombed nearly a century. Only the
sharp eyes of a laborer prevented it from
being discarded along with rubbish.
Despite this imprisonment its condition is
surprisingly good. It shows a pine tree on
the obverse, obviously inspired by the
Pine Tree coinage of a century earlier, and
a figure of Liberty posed as Britannia on
the reverse, complete with globe and dog.
The date 1776 appears beneath the
reverse figure. Whether this was the year
of striking or was used merely
symbolically to denote our independence
from Britain is unknown. The obverse
inscription is MASSACHUSETTS STATE while
the reverse reads LIBERTY AND VIRTUE . This
unique item is owned today by the
Massachusetts
Historical
Society.
Reproductions exist.
MASSACHUSETTS
HALFPENNY
This intriguing coin, classical in
appearance, is dated 1776 and is often
referred to as the Janus Copper or Janus
Halfpenny. This is a reference (though not
quite historically accurate) to the obverse
design, which shows a three-sided head
with faces looking forward, left, and right.
The mythological god Janus had only two
faces, looking right and left (the month of
January is named for him; one face looks
to the old year, one to the new). On the
reverse is a seated representation of
Liberty. The Massachusetts Halfpenny is a
unique pattern piece. The only known
specimen sold for $40,000 in 1979.
KENTUCKY TOKEN
This novel piece was not of American
origin, but struck in England around the
year 1792. It is thought to have been
occasioned by admission of Kentucky into
the Union. On the obverse is a hand
holding a petition reading OUR CAUSE IS JUST
surrounded by the wording UNANIMITY IS THE
STRENGTH OF SOCIETY. The reverse is
composed of a star in which are circular
ornaments, each bearing the initial letter
of a state. As K for Kentucky appears at
the top, this piece is identified with that
state. Some specimens have plain edges
while others are stamped “Payable at
Bedworth,” “Payable in Lancaster,” etc. It
is vital to take note of these markings, as
they have a great influence on the value.
MARYLAND-CHALMERS
The Chalmers tokens were the second
group of coins to be struck for circulation
in Maryland, preceded by the Lord
Baltimore money of a century earlier.
Unlike these early pieces, which were of
foreign manufacture, the Chalmers coins
evolved locally. They were minted at
Annapolis in 1783. Apparently they came
into being because of the coinage shortage
that then existed in Maryland and the
hesitancy of that state’s legislature to take
official action. John Chalmers, their
maker, was a goldsmith. He struck them in
silver in denominations of threepence,
sixpence, and one shilling (twelve-pence).
Their odd geometrical designs give them
an almost cabalistic appearance. All are
quite scarce but the majority are
obtainable.
BALTIMORE, MARYLAND,
OR STANDISH BARRY
Standish Barry was a private citizen of
Baltimore who worked at various craft
trades including watchmaking and
silversmithing. In 1790 he struck, in very
limited quantities, a silver threepenny
token bearing a portrait on one side and
the words THREE PENCE on the other. Due to
the low face value and the fact of its being
made of silver, the physical size is quite
small, about comparable to our dime.
Barry’s motive is not known with
certainty. That he wished to alleviate the
shortage of small-denomination coinage in
his neighborhood is a possibility, but he
produced so few specimens that his goal,
if such was his intent, could not have been
achieved. A more likely suggestion is that
the Barry token was intended chiefly as an
advertising piece. This is supported by the
appearance of his name, spelled out in full
on the reverse, which commonly was done
only with tradesmen’s tokens. The
obverse portrait is thought to have been
intended as George Washington, which
fails to resemble him only because of
artistic inability. Not only the year but the
month is stated and the day as well: JULY 4,
90. The whole appearance is crude and
amateurish, but collectors treasure it.
RHODE ISLAND TOKEN
The Rhode Island ship token has been
variously classified as a coin, token, and
medal, and its status is hardly clearer
today than when research first began.
Struck in 1778 or 1779 (the obverse
carries one date, the reverse another), the
piece is known in a variety of base
metals: copper, brass, tin, and pewter, the
composition having little influence on its
value. That it was intended as a coin for
ordinary circulation and exchange appears
remote as it carries no mark of value and
would have had to trade on the basis of
weight. Being made of different metals,
the weight varies and would have resulted
in no small measure of confusion. The
obverse shows a well-drawn ocean
vessel. On the reverse is a complex scene
representing the flight of Continental
troops from Rhode Island. The
inscriptions are in Dutch but the old belief
that this production was of Dutch or
Dutch-American origin is now given little
support. Based upon the reverse theme it
could well have been struck in England or
by royalists in America. It should be kept
in mind that the Revolutionary War had
not yet ended in 1778–79 and coins or
medals had a certain propaganda value.
Reproductions are known to exist.
1776 CONTINENTAL
CURRENCY
The Continental dollar and its affiliates
were struck as pattern pieces only, based
upon the latest research, and never
reached general circulation. They are
believed to represent the first attempt at
coinage by the Continental Congress, at
any rate the first to achieve physical form.
Upon declaring its independence from
Britain, the United States was cut off from
supplies of British currency and
anticipated an extreme shortage within the
coming months. Actually this shortage did
not materialize to the degree feared.
Continental currency is crown-size and
struck in silver, pewter, and brass. Though
the sizes are identical and the coins bear
no indication of value, it is presumed the
silver pieces were intended as dollars and
the base metal varieties as divisions
thereof. The exact history of their origin is
not recorded, the documentation of it
having apparently been swept away in the
turbulent times of war. We know that the
engraver bore the initials E.G. because he
signed his work. An exhaustive search of
goldsmiths, silversmiths, and other
metalworkers active at that time, having
the initials E.G., has led to the conclusion
that the 1776 Continental currency was the
work of Elisha Gallaudet of Philadelphia.
If this is the case, they would undoubtedly
have been struck in that city as well.
Considering that it was headquarters of
the Continental Congress, it seems to fit
together historically. The legends include
WE ARE ONE and MIND YOUR BUSINESS, the latter
not, probably, having been directed
toward the British but used merely as a
piece of sage advice in the spirit of Ben
Franklin. Copies exist, struck at the 1876
Centennial exposition.
NOVA CONSTELLATIO
SILVERS
These Nova Constellatio silvers are
pattern pieces for a federal coinage, the
first such pattern pieces of silver struck by
the newly born government. They date
from 1783, shortly after the War of
Independence had been concluded.
Supposedly the brainchild of Governor
Morris, a signer of the Declaration of
Independence and assistant financier of
the Confederation, their designer was
Benjamin Dudley. At this point the system
of cents and dollars, later agreed upon,
had not yet evolved; but there was no wish
to continue use of the British pound
standard. Morris evolved a currency
system in which the chief denomination
was a mark, consisting of 1,000 units.
Division of this coin—also included
among the Nova Constellatio patterns—
were the quint, equal to 500 units or half a
mark, and the bit, with a value of 100 units
or a tenth of a mark. Further divisions
could then supposedly be made of base
metal, in fifty or ten units of whatever
seemed practical. If we think of Morris’s
mark as the equivalent of the dollar
(which in reality it was), then the 500 unit
piece was the counterpart of 50¢ and the
100 unit piece of 10¢. Morris won little
support for his currency proposals and the
patterns were never approved for general
circulation. Just one specimen is known to
exist of each example; however, there are
two types (and consequently two known
specimens) of the 500-unit piece, one
having an inscription on the obverse and
the other bearing no inscription.
NOVA CONSTELLATIO
COPPERS
Though their name and design are
similar to the Nova Constellatio silver, it
is important to note that these coins had
quite different origins and purposes. The
concept for both was that of Governor
Morris, who, in addition to being a
legislator, was also a prominent
businessman in the late colonial/early
federal age. While the silvers were
pattern pieces for a proposed federal
coinage, these coppers were struck as a
personal speculative venture. It is quite
likely that their place of origin was not
America but Birmingham, England, and
that their dies were engraved by an
Englishman named
Wyon.
Upon
importation to this country, Morris placed
them into circulation as best he could. To
judge from the fairly large quantities that
exist of most types, their production must
have reached the tens of thousands, if not
higher.
IMMUNE COLUMBIA
It is believed that these tokens, whose
obverse designs are in some instances
similar to those of the Nova Constellatio
coppers, were struck from dies engraved
by Thomas Wyon of Birmingham,
England. Their history is otherwise
shrouded in mystery. That they represent
pattern pieces that did not actually
circulate seems unquestionable, as they
exist in extremely limited quantities.
There are several varieties, chiefly in
copper, but the piece does exist in silver.
A single gold specimen, dated 1785, is
included in the government’s collection at
Washington. It was obtained by trade with
the collector Stickney, who accepted a
duplicate 1804 silver dollar for it. A later
version of the Immune Columbia token,
date 1787, was struck from dies by James
Atlee. Justice with scales is the reverse
theme with a number of different
obverses, including a portrait of the then
not-too-popular George III.
CONFEDERATIO
The Confederatio cent, also known as
Confederatio cop-per, is a hybrid coin
found with various obverse and reverse
designs. Regardless of the designs these
are all pattern pieces that never reached
circulation and all are extremely rare.
Identity of the die cutters is not known but
it is believed that at least some were the
work of Thomas Wyon of Birmingham,
England, and undoubtedly they were
struck abroad. One of the obverse motifs
features George Washington.
SPECIMEN PATTERNS
A number of copper pattern pieces
were struck in or about 1786 for possible
use as token currency. Their history is not
well established and all are extremely
rare. The shield design and E PLURIBUS UNUM
inscription on the reverse of some were
subsequently used on New Jersey tokens,
but the following patterns cannot be
classified as belonging to any given
locality.
NORTH AMERICAN
TOKEN
This is a private piece, one of a number
issued following the Revolution, that
circulated in this country. Its origin is
Irish, having been struck in Dublin.
Undoubtedly it represented the effort of an
Irish merchant or metalsmith to take
advantage of America’s coin shortage.
The date shown is 1781 but belief is
strong that it was actually produced at
some later time, possibly in the late 1790s
or early 1800s. The United States was
experiencing a coin shortage during the
presidency of Thomas Jefferson, so it
could well date from that era. This
situation was well known abroad, as
foreigners melting down our coinage were
chiefly responsible. On the obverse it
pictures a sailing ship with the word
COMMERCE and a seated likeness of
Hibernia (symbol of Ireland) with her
harp on the reverse, inscribed NORTH
AMERICAN TOKEN. It may well be that the side
of this token traditionally regarded as the
obverse was intended as the reverse.
Quantities in which the North American
token were distributed in the United States
are not known. The piece is far from rare.
Its size is roughly equivalent to a quarter.
MACHIN COPPERS
Thomas Machin operated a copper mill
at Newburgh, New York. From 1786 to
1789 he was active in the production of
tokens, some designed for use in the State
of New York ( which see) and others that
were nothing but counterfeits of the British
copper halfpenny. He attempted to profit
by placing these counterfeits, of lighter
than standard weight, into immense
circulation. To avoid suspicion he used a
variety of dates, going back as far as
1747. But the majority are dated in the
early 1770s. The design is always the
same: a portrait of the king on the obverse
with Britannia on the reverse. As these
pieces are not collected by date, their
values are constant irrespective of date.
They can easily be distinguished from
genuine British halfpennies by their cruder
die engraving. However, the Machin fakes
were not the only ones made of this coin.
GEORGIUS TRIUMPHO
TOKEN
This controversial coin, dating from
1783, is made of copper. On the obverse
is a male portrait in profile with the
inscription GEORGIUS TRIUMPHO, which cannot
be translated in any other fashion but
“George Has Triumphed.” Considering
that the War for Independence had
recently ended with an American victory,
the triumphal George should be
Washington. But the portrait much more
closely resembles George III, the British
monarch
who sought to preserve
American colonization. Just how this
George could be regarded to have
triumphed at that moment is puzzling.
Perhaps the explanation is that Washington
was intended but the engraver, being
unskilled and having no likeness at hand
from which to copy, merely fashioned the
portrait after that on English money. A
similar situation prevailed at the time
among illustrators who designed
copperplate portraits for books, the
likeness often being guessed at. As
photography did not exist and few citizens
actually saw celebrities in the flesh, it
was not really known if such works were
accurate. The reverse pictures Liberty
holding an olive branch, and thirteen bars
representing the confederation. Its
inscription is VOCE POPOLI, an error for
“Voce Populi” or “Voice of the People.”
AUCTORI PLEBIS TOKEN
Not much is known of this copper
piece, other than the fact that it closely
resembles the early coinage of
Connecticut. It is thought to have been
struck in England and may never have
been intended for American circulation. It
has, however, traditionally been included
in American colonial and federal-era
collections. It bears a date of 1787 and
carries a male portrait profile on the
obverse with a seated figure of Liberty on
the reverse. The workmanship is not
especially skilled.
MOTT TOKEN
An early trade token, this piece had no
official sanction nor any legal value as
money. Its issuers were William and John
Mott, who operated a business on Water
Street in the downtown area of Manhattan.
Mott Street, now the central boulevard of
New York’s Chinatown, was named for
this family. The Mott token is of copper,
picturing on one side the American eagle
emblem and (quite unusual) a shelf clock
on the other. The clock served an
advertising purpose, as the Motts dealt in
goldware, silverware, and fancy goods
including importations. This token dates
from 1789. Of too high a quality for local
production, it seems evident they were
manufactured in England.
BAR CENT
The Bar cent is a very simply designed
coin whose name derives from the fact
that its reverse design is composed of a
grid containing thirteen bars (one for each
state of the confederation). On the obverse
are the letters USA in large size,
intertwined. Beyond this there is no
further ornament or inscription and the
origin of this piece has proven a dilemma.
It is almost surely a foreign product, made
possibly by Wyon (of Nova Constellatio
copper fame) of Birmingham, England. Its
first public appearance was made in New
York in late 1785. It may be presumed that
the date of minting was either that year or
possibly 1784. Reproductions, against
which collectors are cautioned, were
produced during the Civil War.
TALBOT, ALLUM, AND
LEE CENTS
These are trade tokens, circulated by a
firm of importers known as Talbot, Allum,
and Lee, who were headquartered at 241
Pearl Street, New York, in what is now
the financial district but then was given
over largely to import/export because of
its access to the Battery docks. There is no
question but that they were struck in
England. The corporation’s name appears
on one side, sometimes with and
sometimes without its place of location.
The earliest date is 1794 and at this point
they carried a value legend of ONE CENT. In
1794 this was removed, possibly out of
fear of government protest, and an
inscription added to the edge: WE PROMISE TO
PAY THE BEARER ONE CENT.
There are, however,
specimens of the 1795 edition with
unlettered edge, which are considerably
scarcer. This practice of issuing tokens
redeemable at a certain place of business
became widespread in the 19th century,
e s p e c i a l l y during the small-change
shortage of the Civil War.
GEORGE WASHINGTON
PIECES
Following the Revolution, George
Washington became a national hero and
idol to such a degree that he was virtually
worshipped. Books were written on his
life, engravers published pictures of him,
and his likeness was set into snuff boxes,
jewelry cases, and other fancy goods. It is
only natural that Washington would also
be the subject of numerous tokens and
pseudocoins. These were issued beginning
in 1783 and (for practical purposes)
ceased about 1795, after official federal
coinage began circulating. No exact date
can be placed on their discontinuance,
however, as tokens and medals honoring
Washington appeared from time to time
thereafter.
Those in the following listing are not
strictly classed as commemoratives but
might just as well be. They were primarily
coppers and contained a cent’s worth of
that metal. They could, therefore, be used
as money, but the extent to which this was
done is not known and can be presumed to
have been limited, as none were struck in
large quantities. The best title for them
might be “celebration pieces.”
Building a complete collection is
outside the realm of possibility because of
the extreme scarcity of some issues. A fair
assembly of them can, however, be made.
Their origins are not well established.
Some are believed to have been designed
and struck in England. This would seem
logical on the basis of workmanship.
Those made abroad were surely not
designed for circulation there, but for
export and distribution within the United
States. One of the Washington tokens—in
half penny value—declares itself a Welsh
product; it carries the inscription NORTH
WALES on the reverse. Another was a
London tradesman’s token. As for their
dates, the presumption is that some, at
least, were struck subsequent to the year
indicated, perhaps in the first decade of
the 19th century or even later.
Most have distinctive reverses and are
known chiefly by these reverse types. So
far as the portraiture is concerned, there is
a rich and interesting variety, differing not
only in artistic quality but concept. On
some, Washington is shown as a Romanstyle emperor, wearing a laurel wreath.
The majority portray him in military dress.
Though a few coins of amateurish design
are included in this group there are
likewise several of the most skilled and
i mp r e s s i v e workmanship, which, if
executed as sculptures, would be regarded
as important works of art. The likelihood
that Washington sat for any of the die
cutters is remote, but apparently they
either had prior experience drawing or
sculpting him or worked from some of the
better oil pictures, such as those of Stuart.
They could not have achieved such faithful
portraiture merely from descriptions of his
physical appearance.
FRANKLIN PRESS TOKEN
This copper token was struck in
England as a merchant piece and its use
apparently restricted there. Because of its
connection with Benjamin Franklin it has
interest for collectors of American
coinage. The obverse pictures an oldfashioned screw press (driven by jerking
a lever), with the words PAYABLE AT THE
FRANKLIN PRESS LONDON on the opposite side.
It carries a date of 1794. As Franklin died
in 1790 he could not have seen this token.
Reproductions exist.
CASTORLAND
Royalists who fled France following
the revolution’s outbreak in 1791
scattered to many parts of the globe. A
small colony settled in the New York
State farmlands (near Carthage) and
called the locality Castorland. The
Castorland medal or token is said to be a
pattern piece struck in France for a
proposed currency. It never reached
beyond the experimental stage and both
varieties, in silver and copper, are
extremely rare. They carry a date of 1796.
FUGIO CENTS
The Fugio cents, so called because that
word is a component in the obverse
inscription, were the first officially
sanctioned U.S. federal coinage. It was
resolved by Congress in 1787 that a
contract be put out with a private miller,
James Jarvis, for 300 tons of copper
coins. The arrangement was for Jarvis to
secure the metal himself and pay all
expenses, then sell the coins to the
government at face value—his profit
arising from the difference between his
cost and the total face value. It was a
venture of enormous proportions,
considering that the United States had not
previously authorized any coins. The
matter of designing was not left to the
contractor. Congress specifically spelled
out what these coins should look like:
“thirteen circles linked together, a small
circle in the middle with the words
‘United States’ around it, and in the center
the words ‘We are one’; on the other side
of the same piece the following device,
viz: a dial with the hours expressed on the
face of it; a meridian sun above on one
side of which is the word ‘Fugio.’ ” Fugio
is Latin for “flees.” As the obverse carries
the saying “Mind Your Business,” often
attributed to Benjamin Franklin, this is
sometimes called the Franklin cent; such
terminology is, however, misleading and
confusing. The dies were produced by
Abel Buel of New Haven, Connecticut,
a nd most of the striking was apparently
carried out in that city. Jarvis failed to
deliver the agreed-on number of coins,
was prosecuted for breach of contract, and
imprisoned.
NEW HAVEN RESTRIKES
In 1858, C. Wyllys Betts found three
sets of dies in New Haven. Restrikes in
various metals were made. The restrikes
were not made directly from these dies but
copies fashioned from them.
FIRST UNITED STATES OF
AMERICA MINT ISSUES
1792 BIRCH CENT
The 1792 Birch cent was the first coin
to be struck at the newly established U.S.
Mint in Philadelphia and the first
governmental issue struck by the
government as opposed to private
contractors. This coin was not circulated
but produced as a trial piece only. Along
with it were also trial or pattern pieces of
half disme, disme, and quarter dollar
denominations, all of which are extremely
rare. A motion is said to have been made
for placing George Washington’s likeness
on these pieces but that Washington, when
informed of this plan, declined to be
honored in such a manner. It was then
decided to use a portrait of the Goddess of
Liberty. The better-known version of the
Birch cent is large in size and composed
entirely of copper. A smaller cent was
also produced, containing a droplet of
silver at the center. This was done entirely
as an experiment to determine whether a
penny coin in small size might be publicly
more acceptable than one made
exclusively of base metal. The pattern
quarter dollar has more the appearance of
a medal than a coin. The Birch cent
derives its name from Robert Birch, its
designer. Birch is thought also to have
been among the die cutters for the half
disme and disme.
1792 SILVER CENTER
CENT
HALF CENTS, 1793–1857
That the lowly half cent survived into
the second half of the 19th century is
looked upon as remarkable today by
persons not well acquainted with the
economic conditions of that time. Despite
its minute face value, and the grumblings
of many citizens that it did little but clutter
their pockets, it served an important
function in trade. Many articles in shops
were priced fractionally and, without the
half cent, difficulty would have been
encountered in making change for such
purchases. Their availability was,
however, frequently abused. Merchants,
anxious to rid themselves of half cents,
would often give them instead of pennies.
As first introduced in 1793, the coin bore
a portrait of Liberty facing left on its
obverse and a wreathed reverse with the
w o r d s HALF CENT and UNITED STATES OF
AMERICA. The designer was Adam Eckfeldt.
The original weight was 6.74 grams and
the composition pure copper. The coin has
a diameter of 22mm. and is stamped along
the edge TWO HUNDRED FOR A DOLLAR . After
being struck for a single year it was
decided to redesign the coin (coin
redesigning occurred frequently in the
Mint’s early days of operation), the new
design being the work of Robert Scot.
Liberty was switched round to face right,
her features streamlined, and her cap (the
“cap of liberty,” a reference to caps worn
by freed slaves in Roman times) enlarged.
The reverse was restyled but not
materially altered. Planchets were of the
same weight but slightly larger physically,
measuring 23.5mm. Another fresh version
was placed into use in 1795, this one the
work of John S. Gardner; its
specifications were the same as its
predecessor’s. It was later concluded that
the weight had been set too high. This
ushered in the so-called “thin planchet”
half cent, weighing 5.44 grams and still
measuring 23.5mm. TWO HUNDRED FOR A
DOLLAR was removed from the edge. The
varieties of this Liberty Cap half cent are
numerous, despite the brief period of its
manufacture.
The Liberty Cap half cent was followed
in 1800 by introduction of the Draped
Bust design, after a period of two years in
which coins of this denomination were not
minted (they could hardly have been in
short supply, as well over 200,000 had
been circulated). Liberty’s cap was
removed and her hairstyle made somewhat
more fashionable. The portrait was
lengthened somewhat to include a
suggestion of shoulders, over which a
classical-style garment was placed. The
designer was Robert Scot, who had done
the 1794 version. Specifications remained
the same as before. It was resolved to get
these coins into very extensive circulation,
resulting in a mintage quantity of more
than one million in the year 1804 alone.
By the end of 1808, the last year for this
design, more than 3 million had been
struck. The new half cent was the socalled Classic Head variety, designed by
John Reich. Apparently this title was
bestowed in the belief that Reich’s Liberty
more closely approximated Grecian
sculpture than had the other types. The
face, if stronger, became less physically
attractive and more masculine. Stars were
set at either side of the portrait and
Liberty was given a band round her head
with her name imprinted on it. The next
design, and the last, was introduced in
1840 but used for proofs only, as the half
cent did not return to general circulation
until 1849. Christian Gobrecht was the
designer and his rendition of Liberty has
come to be known as the Braided Hair
type. A sharp departure from the Reich
approach, it pictured Liberty with a
Roman nose and considerable loss of
bulk. This could well be considered the
most attractive design, portrait-wise, of
the half-cent series.
HALF CENTS—LIBERTY
CAP, 1793–1797
HALF CENTS—DRAPED
BUST, 1800–1808
HALF CENTS—TURBAN
HEAD, 1809–1837
HALF CENTS—BRAIDED
HAIR, 1840–1857
LARGE CENTS, 1793–1857
The shrinkage of the cent from its
introduction in 1793 to its present size is
ample evidence of inflation; the present
Lincoln cent weighs only about one-third
as much as its distant ancestor. But what
the penny has lost in bulk and buying
power has been compensated for, at least
in part, by its greater convenience. The
series began with the Flowing Hair/Chain
Reverse type designed by Henry Voight.
Its weight was set at 13.48 grams of pure
copper, precisely twice that of the half
cent. (The government set rigid standards
of weight, fearing that without such
regulations its coinage would not inspire
confidence.) There were no long
suspensions of production, as with the half
cent. A quantity—varying, of course, in
number—was minted each year from the
coin’s inception until conclusion of the
Large Cent in 1857, with the single
exception of 1815 because of a metal
shortage.
The first design, aptly named Liberty, is
shown with billowing hair that appears
breeze-blown. Her features are delicate
and the overall composition is pleasing. It
will be noted that the reverse design bears
very close resemblance to the Fugiocent
or Franklin cent, struck in 1787. The
diameter of this coin varies from 26–
27mm. It is consequently not very much
smaller than the present fifty-cent piece.
After three months of striking coins
from these dies, during which time more
than 36,000 were produced, a new design
was introduced. The work of Adam
Eckfeldt, designer of the first half cent, it
retained the Flowing Hair portrait on the
obverse but employed a wreath rather than
the chained reverse, enclosing the words
ONE CENT. Its weight was unchanged but the
diameter varies from 26–28mm. or
slightly larger than its predecessor. Along
the edge is stamped the inscription ONE
HUNDRED FOR A DOLLAR.
This design got somewhat further,
resulting in a mintage of more than 60,000
pieces, but before the year was out
another had taken its place. The Flowing
Hair portrait, subjected to criticism in the
press (to which the government seems to
have been more sensitive than
subsequently), was removed in favor of a
Liberty Cap type, designed by Joseph
Wright. Here the bust of Liberty is
positioned somewhat to the right of center;
over her left shoulder she balances a staff,
on the tip of which rests a conical-shaped
cap—the “cap of liberty,” symbolic of
freedom from slavery in Roman times.
This version, too, was assailed, but
minters were so weary of making
alterations that they continued using it until
1796. The staff and cap looked like an
Indian arrow in the opinion of some;
others fancied that Liberty was wearing an
oversized bow in her hair. The weight
was retained but the planchet grew
slightly larger, to 29mm.
In 1795, still using the same design, the
weight was dropped to 10.89 grams,
diameter remained 29mm., and new dies
were engraved. The artist was John S.
Gardner. His work is often said to be
superior to other efforts. The Draped Bust
type, first struck in mid-1796, was an
effort to render more classicism to the
portrait. Designed by Robert Scot, it
deleted the much-maligned liberty cap
and, while not materially altering Miss
Liberty’s facial features, gave her the
appearance of chubbiness. Specifications
remained as previously.
In 1808 the so-called Classic Head
made its bow, designed by John Reich.
Here Liberty wears a coronet with the
word LIBERTY spelled out upon it and the
bust is shortened with drapery removed.
She grows chubbier still. The reverse is
very close to that of a modern “wheat”
cent: the words ONE CENT encircled in
laurel, surrounded by the legend UNITED
STATES OF AMERICA . There are numerous
varieties, as enumerated in the listing that
follows. The classic head survived until
the copper shortage, which followed close
upon the heels of the War of 1812, when
production of Large Cents was
temporarily halted. When resumed in 1816
the design was new. The work of Robert
Scot, it was referred to as Matron Head,
as Liberty appears to have taken on added
years. She, in fact, was growing old with
her coinage. A youth in 1792 when the
series began, she had now advanced into
middle age. The bust is shortened even
further; stars now totally encircle it
(except for the space containing the date),
but the reverse remains the same.
In 1837 the last Large Cent design was
put into production. The next two decades
yielded many varieties of it, from die reengravings. This is the Gobrecht version,
basically a handsome portrait that returns
the youthful goddess image to Liberty and
slims her down. The weight was 10.89
grams (the penny was never to return to its
old weight-standard), the diameter
27.5mm. Chief variations are the Silly
Head and Booby Head, neither of which
really merited such ridicule. There was
also a Petite Head and Mature Head and
ample differences in letter and numeral
sizes.
LARGE CENTS—FLOWING
HAIR, 1793
LARGE CENTS—LIBERTY
CAP, 1793–1796
LARGE CENTS—DRAPED
BUST, 1796–1800
LARGE CENTS—DRAPED
BUST, 1800–1801
LARGE CENTS—DRAPED
BUST, 1802–1804
LARGE CENTS—DRAPED
BUST, 1804–1807
LARGE CENTS—TURBAN
HEAD, 1808–1814
LARGE CENTS—
CORONET, 1816–1838
LARGE CENTS—BRAIDED
HAIR, 1839–1857
SMALL CENTS
SMALL CENTS—FLYING
EAGLE, 1856–1858
It would be hard to find a coin in the
standard U.S. series that proved so
unpopular as the Flying Eagle cent—
unpopular, that is, orginally. It has since
become a favorite of collectors. During
1856, while the Large Cent continued in
production, plans were under way to
replace it with a smaller coin of the same
value. A number of patterns of the Flying
Eagle were struck that year at the
Philadelphia Mint but were not circulated
because the Large Cent was discontinued
and minting switched over to this new
piece, with a huge output in that one year
of nearly 17,500,000 coins. The public
balked, charging that the government was
forcing the small cent on them. Not only
didn’t the public care much for that idea,
they were also not too fond of the coin.
Instead of being struck in pure copper and
having the substantial appearance that a
cent was supposed to have, its
composition was 88% copper and 12%
nickel, yielding a coin that was
sufficiently pale in color to be called
white. (If one wonders about the
bickerings over coin sizes, designs, and
compositions in the 18th and 19th
centuries, it should be realized that far
greater attention was focused upon money
in those days, when few persons used
checks and credit cards were unknown.)
The Flying Eagle cent was designed by
James Longacre. Its weight was 4.67
grams and its diameter 19mm. As a
designer, Longacre was not unskilled. He
proved his abilities with the Indian Head
cent, which replaced the Flying Eagle in
1859.
SMALL CENTS—INDIAN
HEAD, 1859–1909
Probably the most famous of all U.S.
coins (its only challenger for that honor
being the Morgan dollar), the Indian Head
cent remained in production without
change in design for half a century. After
the disaster of the Flying Eagle cent,
rejected by the public because of its
almost white color, the government knew
that it must manufacture a cent whose
appearance was that of good metal, even
if it was not to return to the Large Cent.
The question remained: Would a small
copper piece be accepted, when Large
Cents, containing a much greater quantity
of metal, were still widely circulating?
The new cent had the same composition as
its predecessor, 88% copper and 12%
nickel. The first batch of Indian Heads,
released in 1859, amounted to 36,400,000
pieces, more than had ever been coined of
a single denomination in one year:
$364,000 worth of pennies. Beginning in
1864 the copper content was increased to
95%, the nickel removed entirely and
replaced with a 5% alloy of tin and zinc.
This was so successfully absorbed into
the copper that the resulting coin was
hardly different in color than if copper
alone were used.
Finally the problem was solved, and the
Indian Head cent was on the road to a long
successful existence. Its designer was
James Longacre. The weight was 4.67
grams and the diameter 19mm., these
specifications being the same as the Flying
Eagle cent. The portrait is that of an Indian
maiden. As first designed, the reverse
carried no shield but this was added in
1860, the second year of issue. The Indian
Head became the first U.S. coin struck in a
quantity of more than 100 million in a
year, when 108 million specimens were
turned out in 1907. This exceeded the
country’s population. It is interesting to
note that the 1908 and 1909 editions,
representing the last two years of this
design, are the only dates to be found with
mint marks.
The origin of the portrait has been for
many years a matter of discussion. It was
at one time thought that Longacre had
taken it from life, using an Indian girl as
his model. This was dismissed when the
suggestion was advanced that the profile
resembled Longacre’s daughter. It is now
generally believed that no live model sat
for the likeness but that it was based upon
classical statuary, of which Longacre was
known to be a collector. The Indian Head
cent portrait is neither as realistic nor as
impressive as that featured on the Buffalo
nickel, but this is nevertheless an
important coin whose design represented
a bold innovation.
SMALL CENTS—LINCOLN
HEAD, 1909 TO DATE
It is quite likely that, despite having
remained in use for fifty years, the Indian
Head design would have been retained for
the cent beyond 1909 had not President
Roosevelt pressed for its removal. The
year 1909 marked the 100th anniversary
of Abraham Lincoln’s birth and Roosevelt
(who, not coincidentally, was a member
of the same political party) wished to
memorialize the anniversary by placing a
likeness of Lincoln on the penny. His
suggestion was adopted, the result being a
design that has survived in continuous use
longer than any other in the Mint’s history,
with no indication that it will soon be
replaced. The Indian Head cents were so
popular that criticism was risked by their
removal. Had they been abandoned in
favor of any other design a public outcry
might have ensued. But for Lincoln,
allowances could be made. This was
incidentally the first time an American
citizen appeared on coinage of the Mint,
as George Washington, though depicted on
numerous coins and tokens, was never
portrayed on an issue of the federal Mint.
Designer of the Lincoln cent was Victor
D. Brenner. Rather than using a close-up
profile, Brenner showed Lincoln in
quarter-length, with beard, as he appeared
in the last few years of his life. It is not
known whether the likeness was adapted
from a specific photograph, from statuary,
or merely from a study of various photos
and other artworks. As first struck, the
coin carried Brenner’s initials and this
variety is known as the VDB cent. They
were removed midway through production
of the 1909 issue and not reinstated until
1918, when they were switched from the
reverse to the obverse. Specimens of the
1909 coin with initials, especially those
struck at San Francisco, where less than
half a million were produced, eventually
became favorite collectors’ items. At the
time little notice was taken of them.
Originally the reverse was composed of
the wording ONE CENT—UNITED STATES OF
AMERICA enshrouded by wheat sheaves. In
1959 a new reverse was introduced, on
the occasion of the 150th anniversary of
Lincoln’s birth and the 50th of the coin’s
use. Designed by Frank Gasparro, it
pictures the Lincoln Memorial building in
Washington, D.C. From 1909–42 the
Lincoln cent had a composition of 95%
copper and 5% tin and zinc, with a weight
of 3.11 grams and a diameter of 19mm.
In 1943 it was made of steel-coated
zinc. From 1944–46 what are known as
“shell case cents” were made from spent
shell casings; their content was 95%
copper and 5% tin and zinc, until
September of 1962 when the tin was
removed from the cent for the last time.
The content of the cent from 1962 until
1981 was 95% copper and 5% zinc.
Beginning in 1982, the cent has been made
of a zinc core with copper coating. Thus,
it is now another clad coin, leaving the
nickel as the lone nonclad U.S. coin.
SMALL CENTS—LINCOLN
MEMORIAL DESIGN
TWO-CENT PIECES
(BRONZE), 1864–1873
The two-cent piece was a short-lived
coin whose impact upon the world fell far
short of its impact on modern
numismatists. Small change was growing
increasingly scarce during the Civil War,
to the point where postage stamps,
encased in holders, were being used for
money. The government sought to alleviate
this by increased production of the penny
and introduced the two-cent piece to take
the penny’s place in areas where it might
not be in sufficient supply. Enormous
quantities were struck at the outset,
approaching 20 million per year, the
composition being the same as that of the
penny—95% copper to 5% of tin and zinc.
The diameter was 23mm. Designer of the
two-cent piece was James Longacre, who
did most of the Mint’s designing at that
time.
There is no portrait on the coin; it
carries a U.S. shield on one side and a
value statement on the other. The lack of
portraiture was undoubtedly an effort to
prevent this coin from being confused with
the penny. Though larger by 4mm. in
diameter than the penny, it must be
remembered that Large Cents were still
found in circulation in 1864—they had
been discontinued less than ten years
earlier—and one almost needed a
scoreboard to keep track of the
denominations of coins passing through
one’s hands. Production totals of the twocent piece decreased each year of its
minting, until only 65,000 were turned out
in 1872, and nothing but proofs and
restrikes the following year. It died a very
silent death.
THREE-CENT PIECES
THREE CENT (SILVER),
1851–1873
America’s burgeoning population, plus
conditions brought about by the California
gold strike, resulted in a shortage of small
change during the mid 19th century. The
decision was made to strike a coin in
three-cents denomination and to have its
composition of silver, alloyed with 25%
copper. Because of its low face value and
precious metal content the coin was
extremely small physically. Its designer
was James Longacre. Rather than
portraiture, a symbolic obverse was used,
consisting of a six-pointed star and shield.
This was done to avoid confusion with the
half dime, whose size and color were
similar. On the reverse was the Roman
numeral III enclosed within an ornamental
letter C (for “cents”) and surrounded by
small stars. The weight was only ⅘ of a
gram—the lightest coin ever struck by the
Mint—with a diameter of just 14mm. It
was tiny, indeed. Undoubtedly the
government expected that this coin,
despite serving an important purpose,
would not prove popular. It didn’t. After
striking about 35 million in the first three
years of its production, quantities were
sharply reduced thereafter. It was
subsequently replaced by the “nickel”
three-cent piece following the Civil War,
which contained no silver whatever.
Though the basic design of the silver
three-cent piece was maintained
throughout its lifetime—they continued
being struck until 1873, though were
rarely circulated after 1862—some minor
changes were introduced. In 1854 the
obverse star was redrawn with a triple
border. The final version, put into use in
1859, has a double border. As there are
no great rarities among the circulating
dates of this series, a complete collection
is well within the realm of possibility. In
1854 there was a change of composition
to 90% silver/10% copper and the weight
was brought down to ¾ of a gram. From
then until conclusion of the series all
minting was carried out in Philadelphia.
Previously the manufacture of this coin
had been divided between Philadelphia
and New Orleans.
THREE CENT (NICKEL),
1865–1889
For all practical purposes, the threecent piece had been out of circulation
during most of the Civil War. Upon the
war’s conclusion its manufacture was
resumed, but no longer was the
composition chiefly of silver. In fact, the
new version contained no precious metal
at all. It was composed of 75% copper
and 25% nickel. What the three-cent piece
lost metallically it gained physically: its
weight more than doubled, rising to 1.94
grams, and its diameter increased to
17mm. It may be wondered why a coin
containing 75% copper would be referred
to as a “nickel” rather than a “copper.”
The explanation is that the term “copper”
was already in use for the cent. Americans
picked up this nickname from the British,
w ho had long been calling their pennies
“coppers.” As the new three-cent coin
represented the greatest use made of
nickel by the Mint up to that time, the
name “nickel” seemed appropriate. The
coin was somewhat better received than
its predecessor, as there was not as much
danger of confusing it with another
denomination. The fact that its life was not
particularly long (it was discontinued in
1889) can be attributed more to inflation
than any fault of its own. By 1889 there
was simply no longer a pressing need for
three-cent pieces. At least 20 million
were in circulation at that time and this
was deemed more than enough to meet
whatever demand might exist. The fivecent piece, which began in 1866 to be
composed of the same copper-nickel ratio
as the three-cent, was adequately filling
whatever need the three-cent had earlier
satisfied.
The three-cent nickel carried a Liberty
head on its obverse and a large Roman
numeral III on the reverse. Like the silver
version, it was designed by James
Longacre. All were struck at Philadelphia.
Throughout the quarter-century of
production no changes occurred in its
design.
In the following listing, note that ABP
is for coins in Fine condition or better.
Superbly struck, uncirculated coins bring
proportionately more than the prices
listed.
NICKELS
NICKELS—SHIELD, 1866–
1883
Though the silver half dime was still
being struck in 1866, its production was
too limited to serve as a general
circulating coin. This noble old soldier,
its origins dating back to the Mint’s
beginnings, was suffering the effects of
general inflation and the bullion shortage
of the Civil War, caused in part by a
scarcity of laborers for the silver mines.
Not knowing what the future might hold,
the government had no wish to terminate
the silver half dime but it wanted, at the
same time, to introduce a coin of
proportionate value made of base metal
and attempt to popularize it. Thus was
born the five-cent nickel or “true nickel,”
as opposed to the three-cent coin that was
also called a nickel.
The five-cent nickel was authorized by
Congress on May 16, 1866. It was to have
a weight of 5 grams and be composed of
three parts copper and one part nickel.
The diameter was 20.5mm. James
Longacre, chief engraver of the Mint, was
called upon to design it and produced a
portraitless coin consisting of a shielded
obverse with Arabic numeral 5 on the
reverse surrounded by stars and rays (or
bars). IN GOD WE TRUST appears on the
obverse above the shield. Nearly
15,000,000 pieces were struck in the first
year of issue. In the following year, 1867,
after production had continued briefly, the
rays were removed from the reverse,
resulting in a rarity of moderate
proportions for the “with rays” type.
This is not, however, an expensive coin
except in uncirculated condition. It may be
asked why the 1867 variety With Rays and
the standard 1866 date are valued almost
equally, when only 2,019,000 of the
former and 14,742,500 of the latter were
struck, yielding a scarcity ratio of 7-to-1.
The answer is simply that the 1866 would
not be worth so much if it weren’t the first
date of its series. There are many
collectors buying “first dates” who buy no
other coins of the series. For this reason
the first year of minting of any U.S. coin
carries a premium over and above the
quantity struck or available in the market.
(Compare the 1866 value with that of the
1872, of which fewer than half as many
were struck; the former is more common
but worth more.)
NICKEL—LIBERTY HEAD,
1883–1913
When production of the silver half dime
picturing Liberty ceased in the 1870s,
designers were free to transfer the
likeness of this goddess to our nickel fivecent piece. This, however, was not
immediately done and, when finally
undertaken in 1883, the portrait was not
the full figure used for half dimes but a
profile bust. The new design was created
by Charles E. Barber and gained for this
piece the name “Barber nickel,” which
was once used commonly but seems to
have lost popularity. Like its predecessor,
it was made of 75% copper and 25%
nickel and had a weight of 5 grams. The
diameter was slightly larger, measuring
21.2mm., and striking was done at
Philadelphia, Denver, and San Francisco.
An embarrassing difficulty occurred
with this coin at the outset of production.
As first designed, the reverse carried the
Roman number V (for 5) without the word
CENTS or any sign indicating that cents was
intended. Very shortly, unscrupulous
persons began gilding the coin with gold
wash and passing it to foreigners and
other uninformed individuals as a $5 gold
piece. The government put a halt to this
activity by having the die re-engraved and
the word CENTS added.
From then until 1913, when a new
design was introduced (the famous
Buffalo/Indian), no changes were made in
designing. The Liberty Head was struck in
great quantities throughout almost its
entire run of production, with the total
output reaching well into the hundreds of
millions. It could still be found in general
circulation, though not with much
frequency, as late as the 1940s. The 1913
Liberty Head, America’s most valuable
base-metal coin, has long proved an
enigma. The Mint claims not to have
struck any Liberty Heads that year,
asserting that its production consisted
entirely of the Buffalo/Indian. It is
certainly believable that no regular
production occurred, otherwise the total in
existence would not be as small as just
five specimens. Even assuming that
minting for the year was started with the
Liberty Head design and was switched off
to the new type after a few days,
thousands of coins would by that time
have been struck. There seems no logical
way in which just five pieces could have
been manufactured. The likelihood—
though it may slightly tarnish this rarity’s
appeal—is that 1913 dies were produced,
then put aside when the change of design
was authorized and used (possibly
clandestinely) to strike just a few
specimens by a person or persons
unknown. This theory is supported by the
fact that originally, when first brought to
public light, all five were owned by the
same individual: Colonel Edward H. R.
Green of New York, a noted collector of
coins, stamps, and art in the World War I
era. If struck by the Mint and dispersed, it
is almost beyond the realm of possibility
that they could have been acquired by one
collector within so short a period of time.
(Colonel Green, incidentally, is equally
noted for being the purchaser of the sheet
of 24¢ inverted-center airmail stamps
issued in 1918, which he broke up and
sold; his approach to collecting was rather
like that of a dealer or speculator, and one
can only wonder at the reason for his
association with the 1913 Liberty Head
five-cent piece.)
NICKELS—BUFFALO OR
INDIAN HEAD, 1913–1938
Undoubtedly the most dramatic, artistic,
and original set of designs employed for a
U.S. coin, the Buffalo/Indian Head nickel
went into production in 1913. The
composition was 75% copper and 25%
nickel, with a weight of five grams. Its
diameter was 21.2mm. James E. Fraser,
the designer, was not one to go half way.
He hired an Indian to sit for the obverse
portrait and took his sketching gear to the
Bronx Zoo to get a likeness of a buffalo in
the flesh. The artwork of this coin is little
short of superb: each motif fully fills the
planchet ground and is unencumbered by
large inscriptions or miscellaneous
symbols. Unfortunately the rate of wear in
handling was such that few individuals
aside from collectors had the opportunity
to see the coin at its best. Just like the
noble animal it pictured, the American
bison, this coin proved to be a rapidly
disappearing species. Within only twenty
years after its discontinuation in 1938 it
had all but vanished from circulation,
despite enormous production output.
Critics of the Buffalo/Indian Head
nickel were few. Those who spoke against
it raised the objection that the buffalo was
in danger of extinction. So popular did the
bison likeness become that the coin, unlike
most others, came to be popularly known
by its reverse rather than its obverse.
In 1916 a double die error resulted on
some specimens, producing a twin or
ghost impression of the date. Of regularly
struck pieces, those from the San
Francisco Mint in the early and middle
1920s are scarcest.
NICKELS—JEFFERSON,
1938 TO DATE
In 1938 Thomas Jefferson became the
third president to be pictured on an
American coin (preceded by Lincoln and
Washington) when his likeness was
installed on the five-cent piece, replacing
the Buffalo/Indian Head. When the
decision was made to use Jefferson’s
portrait on this coin, a public competition
was instituted to select the best design,
accompanied by an award of $1,000. A
total of 390 entries was received, the
winning one being that of Felix Schlag.
Jefferson is shown in profile facing left
on the obverse, with his home at
Monticello pictured on the reverse. No
alteration has ever been made in the
design of this coin but some changes
occurred in composition and modeling of
the dies. In 1966 Schlag’s initials were
added, the feeling being that he deserved
this honor as much as the designer of the
Lincolncent, whose initials were
incorporated into the design.
The coin has always weighed five
grams and measured 21.1mm. Originally
its content was 75% copper and 25%
nickel. Due to a shortage of nickel during
World War II because of its use in
military production, this metal was
entirely removed from the coin in 1942
and substituted with a composition of 56%
copper, 35% silver, and 9% manganese.
Wartime nickels consequently carry a
premium value because of their silver
content, though the silver additive was so
small that the premium is only minimal. In
1946 the pre-war composition was
resumed and has since remained constant.
Prior to 1968 the mint mark was on the
reverse, to the right of the design. On
wartime specimens (1942–45) it is
considerably enlarged and placed above
Monticello’s dome. From 1968 on, it
appears on the obverse between the date
and portrait.
HALF DIMES, 1794–1873
The first half dimes did not technically
reach manufacture until 1795 but carried a
1794 date, as the dies had been engraved
that year and there was no desire to redo
this work. The weight was 1.35 grams, the
composition consisting of .8924 silver and
.1076 copper, or, to speak in rounded
figures, nine parts silver to one part
copper. After more than forty years of
being unchanged compositionally, the
silver content was raised to a full nine
parts in 1837, which necessitated a weight
reduction to 1.34 grams.
The original obverse type was the
Flowing Hair Liberty, similar to that of
other silver coinage of the time. Its
designer was Robert Scot. On the reverse
appeared the standing eagle and legend
UNITED STATES OF AMERICA . This was replaced
by the Draped Bust type with similar
reverse in 1796, and the shield eagle
reverse in 1800. Beginning in 1829 the
Capped Bust was introduced, along with a
modified version of the shield eagle
(wings downward instead of upturned).
The sharpest departure occurred in 1837,
with the introduction of a design that was
to remain—with modifications—until the
series closed out in 1873. This was the
Seated Liberty, an attractive bit of
classical portraiture but one to which
some objection was voiced on the grounds
that it closely resembled the figure of
Britannia on British coins. The reverse
carried the wording HALF DIME within an
open wreath, encircled by UNITED STATES OF
AMERICA. There was initially no decoration
on the obverse beyond the figure of
Liberty. In 1838 a series of stars was
added as a half-frame to the portrait.
Arrows were placed by the date in 1853.
The chief revision came in 1860 when the
w o r d s UNITED STATES OF AMERICA were
removed from the reverse and placed on
the obverse, supplanting the stars. The
reverse wreath was redesigned and made
larger and frillier to fill the vacancy.
HALF DIMES—LIBERTY
WITH FLOWING HAIR,
1794–1795
HALF DIMES—DRAPED
BUST, SMALL EAGLE,
1796–1797
HALF DIMES—DRAPED
BUST, LARGE EAGLE,
1800–1805
HALF DIMES—LIBERTY
CAP, 1829–1837
HALF DIMES—LIBERTY
SEATED, 1837–1859
HALF DIMES—LIBERTY
SEATED, 1860–1873 WITH
“UNITED STATES OF
AMERICA” ON OBVERSE
DIMES
EARLY DIMES, 1796–1891
A coin valued at one-tenth of a dollar
was among the first to be authorized by the
U.S. Mint, though production did not begin
until 1796. Had the dime made its debut
even just a year sooner, there is every
likelihood it would have carried the
Flowing Hair design, but by 1796 there
was no longer much enthusiasm for this
rendition of Liberty and so the coin got its
start with the Draped Bust portrait. This
version of Liberty, familiar on other silver
pieces, lacks the “cap of liberty” and
shows the goddess with a somewhat more
fashionable hairdo. On the reverse was
the standing eagle, encircled by branches,
and the inscription UNITED STATES OF AMERICA .
Stars were placed in a circular pattern on
the obverse, ranging in number from
thirteen to sixteen. The designer was
Robert Scot. The weight of this coin was
2.70 grams and its original composition
was .8924 silver and .1076 copper, the
same as that of the half dime (or,
approximately, nine parts of silver to one
part of copper). Its diameter was
generally 19mm. but slight variations are
observed.
In 1798 the standing eagle was replaced
by the heraldic or shield eagle on the
reverse, over which is a series of stars.
Just like the stars on the original obverse,
these too can vary in quantity from thirteen
to sixteen. In 1809 the portrait was
changed to the Capped Bust, whose chief
characteristic (aside from Liberty’s
headgear) is that the profile is switched
round to face left instead of right. The
reverse type is now the eagle-on-branch,
still bearing a shield but with its wings
down instead of opened wide. The year
1837 witnessed the most significant
alteration up to the time; a likeness of
Liberty seated replaced the bust type and
the eagle’s place on the reverse was taken
by the wording ONE DIME within a wreath,
surrounded by UNITED STATES OF AMERICA . At
first there were no stars on the obverse but
these were added in 1838, and arrows
were placed at the date in 1853. These,
however, were of little duration, as they
disappeared in 1856.
DIMES—DRAPED BUST,
1796–1807 EAGLE ON
REVERSE
DIMES—LIBERTY CAP,
1809–1837
DIMES—LIBERTY
SEATED, 1837–1860
DIMES—LIBERTY
SEATED, 1860–1891 WITH
“UNITED STATES OF
AMERICA” ON OBVERSE
DIMES—LIBERTY HEAD
OR BARBER, 1892–1916
After many years of using a seated
figure of Liberty on the dime, it was
decided in 1892 to return to a facial
portrait. The designer was Charles E.
Barber, resulting in the coin coming to be
popularly known among collectors as the
“Barber dime.” Liberty wears a wreath
and is encircled by the inscription UNITED
STATES OF AMERICA , with the date appearing
below the portrait. The reverse is
unchanged from that used earlier, the
words ONE DIME enclosed in a wreath. This
coin’s weight was set at 2.5 grams. Its
composition was nine parts silver to one
part copper and its diameter 17.9mm. It
was struck at Philadelphia, Denver, San
Francisco, and New Orleans. The very
rare 1894 San Francisco minting, of which
only twenty-four were produced, is the
stellar item of this series. In 1916 the
Liberty Head design was replaced by the
so-called Mercury Head.
DIMES—MERCURY
DIMES, 1916–1945
The Mercury dime is misnamed. The
likeness on its obverse is not that of
Mercury (a male god) but Liberty, the
same mythological figure who had graced
dimes since their introduction in 1796.
Confusion resulted from the attachment of
small wings to Liberty’s headdress,
which, to students of Greek and Roman
folklore, could only represent Mercury,
the “quick messenger,” whom the gods
equipped with wings to better execute his
duties. To give Liberty wings was a bit of
poetic license; the intended meaning was
“liberty of thought,” but so vague was this
concept that its purpose remained
unserved. On the reverse was an object
that caused only slightly less confusion—a
vertical column of some kind that only the
most astute observers could identify. This
was designed as a bundle of fasces or
sticks with an axe protruding. In Roman
times, an imperial or senatorial
procession was often accompanied by
“fasces bearers” who carried these
bundles of wood sticks throughout the
streets. Their meaning was supposedly
symbolic but they likewise served a
practical function: When dusk fell they
could be lighted to illuminate the path.
Designer of the Mercury dime was
Adolph Weinman. Its specifications are
the same as those of the Barber dime. The
mint mark appears on the reverse,
between the words ONE and DIME, to the left
of the fasces. The Mercury dime was
composed of 90% silver and 10% copper.
It has a weight of 2.5 grams and diameter
of 17.9mm.
DIMES—ROOSEVELT, 1946
TO DATE
The Roosevelt dime series is
significant for the change made to clad
composition in 1965. Upon the death of
President Roosevelt in 1945 there was
considerable public sentiment to install
his likeness on a coin. The penny, nickel,
and quarter were not seriously
considered, as they already carried
portraits of former presidents. As no
dollars were being struck, this left only
the dime and half dollar, which both
carried representations of Liberty, as
suitable choices. The dime was selected,
probably because of the much wider
distribution of this coin. The designer was
John Sinnock.
Roosevelt is shown in profile facing
left, with the word LIBERTY and the
inscription IN GOD WE TRUST. The bundle of
fasces was retained as the central element
for the reverse type, which was redrawn.
Originally the mint mark appeared on the
reverse, as it had on the Mercury dime,
then was switched to the obverse on clad
pieces. The weight was 2½ grams. The
composition of this coin, originally 90%
silver and 10% copper, was altered in
1965 to three parts copper/one part nickel
outer covering with an interior of pure
copper, yielding a weight of 2.27 grams.
The diameter remained 17.9mm.
In the first year of striking the clad
dime, more pieces were manufactured
than had ever been turned out of a ten-cent
piece in the Mint’s history, more than 1.6
billion. A serious shortage of dimes had
resulted from spectators hoarding the
silver coins, and this abundant new supply
was intended to replace those lost from
circulation. A mintage figure of more than
2 billion was achieved in 1967, or more
than $1 worth of dimes for every U.S.
citizen.
TWENTY-CENT PIECES—
LIBERTY SEATED, 1875–
1878
The twenty-cent piece was the shortestlived of any U.S. coin. Authorized by a
Congressional Act on March 3, 1875, it
was placed into production immediately
thereafter, with manufacture divided
among the Philadelphia, San Francisco,
and Carson City Mints (Mints on the East
and West Coasts being employed in hopes
the coin would distribute more evenly in
circulation than if released exclusively
from a single source of production).
Designed by William Barber, it
pictured a figure of the goddess Liberty
seated on the obverse, framed by stars,
with an eagle on the reverse. It was
composed of nine-tenths silver and onetenth copper, with a weight of five grams
and a diameter of 22mm. Despite high
hopes, the twenty-cent piece never
achieved popularity, the chief reason for
its rejection being the physical similarity
to the quarter. Production was greatly cut
back in 1876 and discontinued two years
thereafter. All told, less than a million and
a half were struck.
QUARTERS
EARLY QUARTERS, 1796–
1866
It became evident from a very early
period that the quarter or twenty-five-cent
piece would be the most significant
division of the dollar in everyday
commerce. However, the effect was not
fully felt until the 19th century. Striking of
the quarter dollar was authorized in 1792
along with other denominations, upon
establishment of a national currency. No
actual specimens came into circulation
until 1796.
The earliest design was the Draped
Bust portrait of Liberty, common to other
silver coinage, with eagle reverse and the
l e ge nd UNITED STATES OF AMERICA . Stars
appeared alongside Liberty on the obverse
and her name was affixed above the
portrait, with the date below. The
designer was Robert Scot. The original
quarter dollar was composed of .8924
silver alloyed with .1076 copper, or
roughly a nine-to-one ratio. Its weight was
6.74 grams and the diameter generally
27.5mm., with slight variations to be
observed according to the flatness of the
planchet. Only 6,146 pieces were struck
in 1796 as a trial issue (influenced in
some measure by a shortage of silver) and
this date has become scarce, even in less
than the best condition. Production of
quarters was not resumed until 1804,
when discontinuation of dollar coins
increased the need for them. The Draped
Bust type was retained but the reverse
changed to the Heraldic or Shield Eagle
design.
John Reich designed a new quarter
dollar in 1815, identical in composition to
its predecessors but having a slightly
smaller diameter, 27mm. This was the
Capped Bust type, with naturalistic
shielded eagle on the reverse. Production
got off to a small start but was rapidly
expanded. No further change occurred
until 1831 when the coin was brought
down in size to 24.3mm. and was made a
bit thicker, retaining the old weight of
6.74 grams. The designer of this new
twenty-five-cent piece was William
Kneass (pronounced Niece) and all
striking was done at Phi la delphia. There
is a Small Letters and Large Letters
variety of this design, with little influence
on value. The portrait is a somewhat
streamlined Capped Liberty who appears
more noble than previously. This design
was of short duration, replaced by the
Seated Liberty type in 1838. On the
reverse was the shield eagle, beneath
which appeared the words QUAR. DOL. (The
use of abbreviations did not fully meet the
approval of artistic-minded persons.)
There was an accompanying change in
specifications as well. The silver content
was slightly raised, to an even 90%; the
copper dropped to an even 10%; and the
weight went down to 6.68 grams. The
diameter was the same as previously.
Designer of this coin was Christian
Gobrecht. It was struck at both
Philadelphia and New Orleans.
A further reduction in weight was made
to 6.22 grams in 1853; arrows were
placed at the dates to remind users of the
coin that it contained less silver than
previously. Compositionally it was
unaltered, with nine parts silver to one of
copper. On the reverse, sunrays sprang
from behind the eagle, an area of the
design which previously had been blank.
This addition was made for the same
reason as the arrows.
QUARTERS—DRAPED
BUST, 1796–1807
QUARTERS—LIBERTY
CAP, 1815–1838
QUARTERS—LIBERTY
SEATED, 1838–1865 NO
MOTTO ABOVE EAGLE
QUARTERS—LIBERTY
SEATED, 1866–1891 MOTTO
ABOVE EAGLE
In 1866 the words in god we trust were
added to the reverse, on a banner between
the eagle and the inscription UNITED STATES
OF AMERICA . When the weight was changed
slightly to 6.25 grams in 1873, the arrows
were returned but no further use was made
of sunrays on the reverse. The arrows
were removed in 1875.
QUARTERS—BARBER OR
LIBERTY HEAD, 1892–1916
The Barber or Liberty Head quarter,
with its classical portrait bust, was
introduced in 1892 after a design by
Charles E. Barber. Liberty faces right and
wears a cap and laurel wreath. On the
reverse is a shield eagle holding arrows
and branch with (at long last) the words
QUARTER DOLLAR spelled out without
abbreviation. This was without doubt the
handsomest design in the quarter-dollar
series and has become extremely popular
with
collectors. It was struck at
Philadelphia, Denver, New Orleans, and
San Francisco. The Barber quarter has a
composition of 90% silver and 10%
copper with a weight of 6.25 grams and a
diameter of 24.3mm.
QUARTERS—STANDING
LIBERTY, 1916–1930
The Standing Liberty quarter was
introduced in 1916 during World War I
and its theme was intended to reflect the
nation’s sentiments at that time. The
goddess is portrayed in full length holding
a shield with which she, presumably,
fends off the defilers of liberty. An eagle
in flight is pictured on the reverse, with
the words UNITED STATES OF AMERICA and E
PLURIBUS UNUM. The designer was Herman
A. MacNeil. Specifications are the same
as for the Barber quarter.
This design carried so much fine
detailing that very moderate handling
resulted in obvious wear, making
uncirculated specimens more valuable,
proportionately, than in the case of most
other coins. The chief point of
vulnerability was the date, so small in size
and positioned in such a way as to receive
heavy wear, that many specimens lost
their date after only a few years of
circulation. The government wished to
correct this fault without totally
redesigning the obverse and in 1925 hit
upon the plan of showing the date in
incuse—that is, pressed into the coin
rather than raised from its surface. While
this did not totally prevent wear it helped
keep the dates readable for a longer time.
A series of minor alterations was made
in 1917, the second year of issue,
including a dressing up of Liberty to
satisfy public criticism that the figure was
displaying a scandalous amount of flesh.
Three stars were added beneath the eagle
on the reverse.
Note: Prices listed for MS-60
specimens of Standing Liberty quarters
are for ordinary strikes. Exceptional
strikes with full head of Liberty in detail
are scarcer and sell for higher sums. This
is not a question of wear, but simply the
quality of the coin as originally struck.
QUARTERS—
WASHINGTON, 1932 TO
DATE
HALF DOLLARS
EARLY HALF DOLLARS,
1794–1838
As originally conceived, the half dollar
was to contain precisely—to the grain—
half as much metal as the dollar and was
to be struck from metal of the same
composition, .8924 silver alloyed with
.1076 copper. It weighed 13.48 grams and
was slightly larger in diameter than it
subsequently became: 32.5mm. Its
designer was Robert Scot and its obverse
featured a profile portrait of Liberty
facing right, the so-called Flowing Hair
likeness used on other coins as well,
backed by an eagle. Along the edge was
stamped its value, as no statement of value
appeared within the design (FIFTY CENTS OR
HALF A DOLLAR ), the words set apart with
small ornamental flourishes. Apparently
the initial issue in 1794 was struck from
just a single set of dies, but in the
following year several dies were
employed resulting in a number of minor
varieties. This was the final appearance of
the Flowing Hair fifty-cent piece. The
design was replaced in 1796 by the
Draped Bust version, to which the
shielded eagle reverse was added in
1801.
Because of the trading significance of
this coin, an effort was made to place as
many half dollars as possible into
circulation during its early years. It was
temporarily discontinued in 1804 as a
result of speculation along with the silver
dollar; but unlike the latter, which did not
return for more than thirty years,
production of the half dollar was resumed
in 1805. In that year more than 200,000
were struck, followed by a striking
exceeding 800,000 in 1806.
The Capped Bust design was installed
on the half dollar in 1807, as it was on
other coins. Its designer was a GermanAmerican named John Reich. The Capped
Bust is sometimes referred to as Turban
Head. The word LIBERTY appears on the cap
or turban band. On either side of the
portrait is a series of stars, with the date
positioned beneath it. The reverse has a
modified shielded eagle (or heraldic
eagle) with the motto E PLURIBUS UNUM on a
banner and 50 C. This coin weighs 13.48
grams and has the same metallic
composition as its predecessors. Varieties
of the Capped Bust half dollar are so
numerous, despite being in use for only
about thirty years, that a large collection
can be built around this coin. And it is,
indeed, an ideal target for specialization,
as nearly all specimens fall within the
low-to-moderate range of price. Christian
Gobrecht redesigned the coin in 1836,
retaining the same types but modifying
them somewhat. The composition was
changed to provide a slightly higher
content of silver and a slightly lower
content of copper, the ratio now being
nine parts silver, one part copper. Its
weight was 13.36 grams and the diameter
reduced to 30mm. This design was
replaced by Liberty Seated in 1839, which
remained in use for more than fifty years.
HALF DOLLARS—
FLOWING HAIR, 1794–1795
HALF DOLLARS—DRAPED
BUST, SMALL EAGLE
1796–1797
HALF DOLLARS—DRAPED
BUST, 1801–1807 EAGLE
ON REVERSE
HALF DOLLARS—
TURBAN HEAD OR
“CAPPED BUST,” 1807–1836
HALF DOLLARS—
TURBAN HEAD OR
“CAPPED BUST,” 1836–
1839, NO MOTTO ABOVE
EAGLE, REEDED EDGE,
REDUCED SIZE
HALF DOLLARS—
LIBERTY SEATED, 1839–
1866 WITHOUT MOTTO
ABOVE EAGLE
The Seated Liberty half dollar was
based on the now-celebrated design of
Christian Gobrecht. The goddess sits
looking left, holding a shield on which the
w or d LIBERTY appears and, in the other
hand, a staff. The upper portion of the
design is encircled by stars. On the
reverse is a shield or heraldic eagle
holding arrows and branch. Beneath the
eagle are the words HALF DOL. After some
minor modification of both the obverse
and reverse design, the numerals used for
giving the date were enlarged in 1846 and
a major change occurred in 1853. Because
the California gold strikes of 1849 had
brought great quantities of this metal into
circulation, public confidence in silver
was gradually eroding. To inspire greater
acceptance of silver coinage their
composition was revised to include a
higher proportion of bullion. The new
ratio—not just for half dollars but silver
pieces in general—was nine parts silver
to one of copper, the one part of copper
being necessary to give this durable metal
a fair stability. The weight was 12.44
grams and the diameter 30.6mm. A pair of
arrows was placed on the obverse beside
the date as warning that the metal content
had changed, and—in the event this was
overlooked—sunrays were installed on
the reverse, radiating from behind the
eagle. These were discontinued in 1856.
Beginning in 1866, and probably not
coincidentally because the Civil War had
recently ended, the motto IN GOD WE TRUST
was incorporated into the reverse design
on a banner that flies above the eagle’s
head. When the weight was increased 6⁄20
of a gram in 1873, resort was again made
to arrows at the date, but no sunrays
adorned the reverse. The arrows were
removed in 1875. The Seated Liberty half
dollar continued to be struck until 1891,
though throughout the 1880s its output was
very limited.
HALF DOLLARS—
LIBERTY SEATED, 1866–
1891 WITH MOTTO ON
REVERSE
HALF DOLLARS—
LIBERTY HEAD OR
BARBER, 1892–1915
These coins, which resemble the
Morgan dollar in portraiture, were
prepared from designs by Charles E.
Barber and really have no connection with
the Morgan dollar aside from the
possibility that Barber may have been
inspired by it.
The face of Liberty, which faces right,
is strong and classical, suggesting the
portraiture of Greek coins of ancient time.
The weight is somewhat greater than the
final version of the Seated Liberty half,
12.5 grams, but its composition is the
same, 90% silver and an alloy of 10%
copper. The reverse has an attractive
eagle with shield and wings spread wide;
it holds the traditional arrows and branch.
The mint mark appears directly beneath
the eagle’s tail feathers. Without question
this was artistically the finest coin of the
half dollar series. It was struck at
Philadelphia, New Orleans, Denver, and
San Francisco. Not a single rarity is to be
found among the Barber halves, with the
result that it offers splendid opportunities
for completion—even if one wishes to
include all the mint marks.
HALF DOLLARS—
LIBERTY WALKING, 1916–
1947
This attractive design, introduced in
1916, pictured a full-length representation
of Liberty on the obverse, dressed in a
diaphanous gown and strolling along a
field, her right arm upraised as if in
acknowledgment of the splendors of
nature. In the distance the sun rises (or
sets). The designer was A. Weinman,
whose initials may be observed—if one
has a coin with virtually no wear—on the
reverse. His rendition of the eagle on the
coin’s reverse, a naturalistic type bearing
little resemblance to the previously
employed shield or heraldic eagle, is a
noteworthy piece of art. Sadly, the Liberty
Walking half dollar suffered a great deal
from rubbing in circulation and much of its
delicate linework wore down rapidly,
resulting in a shortage of presentable
specimens. The collector who wishes to
build up a set would be well advised to
seek the finest condition obtainable, and
be prepared to give a slight premium for
coins of the best quality, rather than
collect “average” specimens that are,
truly, mere shadows of their original
selves. The Liberty Walking fifty-cent
piece was struck at Philadelphia, San
Francisco, and Denver. Its composition is
90% silver and 10% copper with a weight
of 12.5 grams and a diameter of 30.6mm.
Note: The sale of Liberty Walking
halves as silver bullion should be
approached with care. While the majority
of common dates in average condition are
of no special numismatic value, this
series, though modern, does include
scarce dates and mint marks that deserve a
better fate than the smelter’s pot. The
silver in these coins amounts to .36169
ounce, or slightly more than one-third of
an ounce.
HALF DOLLARS—
FRANKLIN OR LIBERTY
BELL, 1948–1963
The likeness of Benjamin Franklin,
which had not previously appeared on a
U.S. coin, was installed on the half dollar
in 1948. That he was not president can be
accounted for by mere circumstance. Had
the federal government been formed ten or
twenty years sooner, before Franklin had
advanced into old age, there is little doubt
but that he would have attained the office.
Like the Roosevelt dime, introduced two
years earlier, this coin was designed by
John R. Sinnock. On the reverse is a large
representation of the Liberty Bell, adapted
from the artwork on the 1926
Sesquicentennial medal celebrating the
150th anniversary of our Declaration of
Independence. Franklin is shown in
profile facing right. The mint mark is atop
the Liberty Bell on the reverse, directly
below the words UNITED STATES OF AMERICA .
Composition is 90% silver, 10% copper,
with a weight of 12.5 grams. The diameter
is 30.6mm. It contains .36169 ounces of
pure silver, or slightly more than one-third
of an ounce.
HALF DOLLARS—JOHN F.
KENNEDY 1964 TO DATE
Following the death of President
Kennedy in 1963 there was considerable
public sentiment for honoring his memory
on coinage. As all coins except the half
dollar already carried portraits of
presidents, it was decided to install his
likeness on this coin, even though its
design had been changed as recently as
1948.
The portrait was designed by Gilroy
Roberts and Frank Gasparro, the reverse
featuring a shield eagle surrounded by
stars. As introduced in 1964, the coin was
of regular silver composition (90% silver,
10% copper, .36169 ounces of silver by
weight) but was altered in 1965 to the
clad standard, consisting of a 21%
silver/79% copper interior covered with
80% silver/20% copper, total weight of
silver being .14792 ounces. Its weight
was 11.5 grams, down from 12.5. In 1971
the silver was removed from its core and
a new composition used for the exterior,
comprising three parts copper to one of
nickel. The silver had been entirely
replaced and the weight fell to 11.34
grams. The only alteration in design
occurred in 1976 when a figure of
Independence Hall in Philadelphia was
added to the reverse, supplanting the
eagle, as part of the Bicentennial program.
On the obverse the date appeared as
1776–1976. In the following year the
normal reverse was readopted. A quantity
of silver-clad pieces were struck in 1976,
the first (and last) in this series since
1970.
This has been termed a difficult coin on
which to find the mint mark. As first
issued, it may be observed on the reverse,
above the L and F in the word HALF. In 1968
it was brought to the obverse, beneath the
portrait and above the date.
The scarcest Kennedy half dollar is the
1993S silver proof, not minted for general
circulation. The Kennedy half dollar has a
diameter of 30.6mm.
SILVER DOLLARS
EARLY, 1794–1804;
PATTERNS, 1836–1839;
REGULAR ISSUE, 1840–
1873
The silver dollar, probably the most
significant U.S. coin of the 19th century,
was authorized on April 2, 1792, and was
intended as the chief currency piece or
standard for other silver coinage.
However, striking was not begun until
1794. The word “dollar” is a corruption
of Taler or Thaler, a large silver coin
widely distributed in Europe and well
known to Colonial America. Prior to use
of this term in domestic coinage it had
become common to refer to Spain’s
“pieces of eight” as dollars, so it was
natural that this crownlike silver piece
should likewise be called a dollar.
The first design, the Flowing Hair
variety, was executed by Robert Scot and
may be observed on other coinage of that
era. Its reverse was an eagle surrounded
by the words UNITED STATES OF AMERICA . The
composition was .8924 silver and .1076
copper, the addition of this roughly onetenth part of base metal being needed to
provide ruggedness. It weighed 26.96
grams and was the heaviest U.S. silver
coin excepting the Trade dollar of much
later vintage. Its diameter varies between
39 and 40mm. Along the edge is
impressed the words HUNDRED CENTS ONE
DOLLAR
OR
UNIT,
interspersed with
typographical ornament.
There was very limited striking of
dollars in the initial year of their
appearance, less than 2,000 being turned
out. The following year, 1795, witnessed
greatly increased production, but because
of the surface softness of these coins and
the extensive handling to which they were
subjected, it is not easy finding specimens
in the best grades of condition. “Average”
examples can be had rather easily.
There are two reverse varieties of the
1795 Flowing Hair dollar, one in which
three leaves appear beneath the eagle’s
wings on either side, another with two
leaves. Toward the end of 1795 the
Flowing Hair obverse was replaced by
the Draped Bust, with the so-called “small
eagle” reverse (the eagle’s wings and
body in general being scaled smaller than
previously). The Draped Bust obverse is
found with dates in small or large
numerals, and with the legend UNITED STATES
OF AMERICA in small or large letters on the
reverse. There are also differences in the
number of stars on the obverse. In 1798
the shield eagle reverse was introduced,
still with the Draped Bust portrait. These
types were continued until 1803 when the
striking of silver dollars was suspended.
It was at one time believed that the Mint
coined a few dollars in 1804 but it has
now been established beyond reasonable
doubt that silver dollars dated 1804 were
struck in the 1830s for inclusion in proof
sets. Apparently the die for an 1804 coin
was prepared before any decision was
reached to discontinue production and it
was stored away at the Mint for those
thirty years. In any case, the 1804 dollar is
an extremely rare piece whose popularity
(and price) has not suffered in the least by
results of research into its origins. A
handful of restrikes were later made in
1859. There is scarcely any difference in
rarity or value between the 1830s proofs
and the 1859 restrikes. Of all 1804 silver
dollars (both types), fifteen exist.
In 1836 Christian Gobrecht prepared
designs for a new silver dollar, which at
first was struck in limited numbers to test
public response. A seated figure of
Liberty appeared on the obverse with a
flying eagle reverse. The obverse carried
no wording whatever. On the reverse
were the words UNITED STATES OF AMERICA
a n d ONE DOLLAR, the eagle set within a
ground of stars. There are some varieties
of this reverse containing no stars. Fullscale output of silver dollars was not
resumed until 1840. For this issue, and for
many years following, the shield or
heraldic eagle was used for the reverse
and the face value was abbreviated into
ONE DOL. In 1866 the motto IN GOD WE TRUST
was added to the reverse, on a banner
flowing above the eagle. The mint mark is
located below the eagle and above the
statement of value. Striking of dollars in
this design ceased in 1873.
SILVER DOLLARS—
LIBERTY WITH FLOWING
HAIR, 1794–1795
SILVER DOLLARS—
DRAPED BUST, 1795–1798
SMALL EAGLE ON
REVERSE
SILVER DOLLARS—
DRAPED BUST, 1798–1804
LARGE EAGLE ON
REVERSE
SILVER DOLLARS—
LIBERTY SEATED
(GOBRECHT), 1836–1839
WITH FLYING EAGLE ON
REVERSE
SILVER DOLLARS—
LIBERTY SEATED, 1840–
1865 NO MOTTO OVER
EAGLE
SILVER DOLLARS—
LIBERTY SEATED, 1866–
1873 MOTTO “IN GOD WE
TRUST” ADDED
SILVER DOLLARS—
TRADE, 1873–1885
In the early 1870s there was mounting
pressure to increase the silver dollar’s
weight, as American commerce with
Japan was being hindered by the fact that
our silver dollar was somewhat smaller
than European crowns. It was decided to
strike a special coin, known as the “Trade
dollar,” to weigh 27.22 grains and be
composed of nine parts silver to one part
copper. Much agitation to retain the silver
dollar as a domestic circulating coin
resulted in the government authorizing this
new enlarged version to pass as legal
tender (for its $1 face value) in
transactions of $5 or less. This caused
confusion and dissatisfaction, and in 1878
striking of a separate domestic silver
dollar, based upon the pre–Trade dollar
standard, was resumed. For a while they
were issued simultaneously until the
Trade dollar died a gradual death, its final
year of striking being 1885. The last year
in which they were struck in numbers that
could be termed sufficient for free
circulation was 1878.
The Trade dollar has sometimes been
called one of the handsomest U.S. coins of
that denomination. True enough, the design
is well drawn, but striking of circulating
specimens was in such low relief that the
slightest handling all but obliterated the
more attractive detailing. Only when seen
in proof state can the Trade dollar’s
beauty be recognized. The designer was
William Barber. On the obverse is a
seated figure of Liberty, with an eagle
reverse. The wording TRADE DOLLAR
appears at the foot of the reverse. This is
the only U.S. coin to proclaim its
composition; the reverse is inscribed 420
GRAINS, 900 FINE meaning, of course, .900
silver to .100 base metal.
Beginning in 1876 the Trade dollar was
no longer legal for domestic use. The
Treasury Department (assailed from all
sides in those days) left itself open to
sharp criticism by not offering to redeem
Trade dollars until 1887, eleven years
later. In diameter the Trade dollar was no
larger than the normal issues, 38.1mm.,
but somewhat thicker. It was the heaviest
U.S. silver coin ever minted. Only
recently has it come into what might be
termed popularity among collectors. In
terms of mintage totals vs. regular dollars
it is still rather underpriced.
In the following listing, note that
superbly
struck
pieces
bring
proportionately more than the prices
shown.
SILVER DOLLARS—
LIBERTY HEAD OR
MORGAN, 1878–1904 and
1921
For the resumption of the standard
silver dollar series a new design was
chosen. The work of George T. Morgan,
and thereby popularly called the Morgan
dollar, it showed a profile head of Liberty
backed with an eagle holding arrows and
branch. The motto IN GOD WE TRUST was
installed above the eagle in Old English
Gothic lettering. On the obverse appeared
the slogan E PLURIBUS UNUM. For many years
the Morgan dollar was the best known and
probably most respected silver “crown”
in the world. Artistically the work is
superb, rendered all the more impressive
by the fact that its detailing did not
become easily effaced with use. Morgan’s
goal was to fashion for this country a coin
that, if it did not carry the financial power
of ancient Greek silver pieces, might be
regarded as their equal in design.
The Morgan dollar remained unchanged
in weight and composition throughout its
history. It was composed of nine parts
silver to one part copper and weighed
412.5 grains. The diameter is 38.1mm.
After having been struck in large
quantities for two and a half decades,
production sometimes exceeding 30
million pieces annually, it was suspended
in 1904 because of a shortage of silver.
Striking was resumed in 1921, but only
briefly, as the new Peace dollar was
introduced that same year. However there
were more Morgan dollars coined in 1921
—over 80 million—than in any previous
year. The mint mark is placed below the
eagle on the reverse. The Morgan dollar
contains .77344 ounces of silver, or
slightly more than three-quarters of an
ounce.
In the following listing, note that
superbly struck specimens with few bag
marks bring substantially more than the
prices listed.
SILVER DOLLARS—
PEACE, 1921–1935; 1964
It was decided, following the Armistice
of 1918, to issue a coin commemorating
world peace, and to make this a
circulating coin rather than a limited issue.
As production of silver dollars was being
resumed in 1921, this was the logical
denomination. This coin, known as the
Peace dollar, was designed by Anthony
DeFrancisci, who had some reputation as
a designer of medals. Its obverse pictured
a profile head of Liberty, quite different in
character from those on other coins, and a
standing eagle (perched on a mound) on
its reverse. The word “Peace” was
incorporated into the reverse.
As originally engraved, the dies were
similar in nature to those of a medal,
intended to strike in high relief. The
following year modified dies were
introduced. Coining of silver dollars was
halted in 1935 and never resumed, the
subsequent Ike and Anthony dollars being
of a different metallic composition. Mint
mark appears beneath the word ONE in ONE
DOLLAR on the reverse. The Peace dollar is
composed of 90% silver and 10% copper
and has a weight of 412.5 grains. The
diameter is 38.1mm. and the silver content
is .77344 of an ounce.
Note: In 1964 it was decided to resume
striking silver dollars after a nearly 30year lapse. The Peace design was used
and production was at the Denver Mint.
Before the coins reached circulation, the
“silver controversy” of the year
culminated in the Mint’s decision to
switch to clad coinage. Production of the
1964D silver dollar was halted and the
unreleased total of 316,000 was ordered
melted. In the intervening years a number
of rumors have circulated about
specimens that escaped melting, but there
is no proven evidence of any in existence.
Technically this coin, if it did exist, would
be illegal to own and subject to
confiscation.
DOLLARS
DOLLARS—EISENHOWER,
1971–1978
In 1971, following the death of
President Eisenhower, a dollar piece with
his likeness on the obverse, backed by an
adaptation of the Apollo 11 insignia, was
placed into circulation. Our astronauts had
landed on the moon just two years earlier
and this was commemorated by the
reverse. Frank Gasparro, chief engraver
of the Mint, was its designer. Due to the
greatly increased price of silver bullion it
was not possible to mint this coin as a
“silver dollar.” Its size was equivalent to
that of earlier silver dollars but the
composition bore little resemblance to the
old standard. Two versions were struck: a
collector’s edition with an 80% silver
content and ordinary circulating coins
with an outer layer of three parts copper
and one part nickel enclosing an interior
of pure copper. The former had a weight
of 24.68 grams. Both have a 38.1mm.
diameter. In 1976 a special reverse design
was applied, featuring a representation of
the Liberty Bell superimposed against the
moon, in connection with the Bicentennial.
The obverse carried a double date,
“1776–1976.”
Some
silver-clad
specimens
were
struck,
their
specifications the same as stated above. In
the following year the original reverse
was reinstated. The final year of
production was 1978.
DOLLARS—SUSAN B.
ANTHONY, 1979–1981; 1999
In 1979 the Eisenhower dollar was
replaced by one picturing Susan B.
Anthony, agitator for female suffrage in
the earlier part of the 20th century. The
new coin, the target of much controversy,
had the distinction of a number of “firsts”:
• First general issue U.S. coin to picture
a female (excluding mythological and
symbolic types)
• First nongold dollar coin of small size
• First general issue U.S. coin with
noncircular edge
The Anthony dollar measures 26.5mm.,
or about the size of a quarter. To avoid its
confusion with coins of that denomination,
the edge was not made circular but
squared out into sections. Its composition
is: exterior, three parts copper to one part
nickel; interior, pure copper. The weight
is 8.1 grams. On the reverse appears the
Apollo 11 insignia used for the
Eisenhower dollar. Public dissatisfaction
with the coin has placed its future in
doubt. The designer was Frank Gasparro.
DOLLARS—SACAGAWEA,
2000–2008
The golden dollar’s front has
Sacagawea portrayed in three-quarter
profile. On her back, Sacagawea carries
Jean Baptiste, her infant son. Six months
pregnant when she joined the Lewis and
Clark expedition, Sacagawea gave birth to
Jean Baptiste early in the journey.
In rendering Sacagawea, Goodacre
included the large, dark eyes attributed to
her in Shoshone legends. Goodacre also
used a present-day Shoshone college
student as her model.
NOTE—INDICATOR “RARE” FOR
ALL VALUES $5000.00 AND OVER.
GOLD DOLLARS, 1849–
1889
No gold dollars were struck in the
Mint’s early years. It was felt (logically
enough, based upon conditions that existed
then) that silver would serve adequately
for this denomination and that gold should
be restricted to coins of a higher face
value. However, a series of events
occurred, following the California gold
strikes of 1849, that rendered gold dollars
a necessity. Chief among them was the
growing practice of citizens, especially in
the West, to trade with bullion rather than
coinage. So in 1849 a gold dollar was
introduced.
Designed by James Longacre, the gold
dollar carried a Liberty head on the
obverse and was backed by a simple
reverse featuring a wreath and the numeral
1 in Arabic. A series of stars encircled the
obverse portrait. As this coin was, by
necessity, of diminutive size, elaborate
designing was not possible. The Liberty
gold dollar weighed 1.672 grams and was
composed of 90% gold and 10% copper.
It had a diameter of 13mm. The mint mark
appears below the wreath. In 1854 the
obverse was given over to an Indian Head
and the coin made flatter, its diameter
increased to 15mm. The weight was
unaltered. There was a further change in
1856 when a new die was cast for the
obverse, showing the Indian Head a bit
larger. This was the final variety for the
gold dollar, whose last year of coining
was 1889. The gold content by weight for
all three types was .04837 of an ounce.
PLEASE NOTE: THE PRICES
THAT ARE LISTED REFLECT A
GOLD SPOT PRICE OF $1400.00
PER OUNCE.
GOLD DOLLARS—
LIBERTY HEAD WITH
CORONET, SMALL SIZE,
1849–1854
GOLD DOLLARS—SMALL
INDIAN HEAD, FEATHER
HEADDRESS, LARGE SIZE,
1854–1856
GOLD DOLLARS—LARGE
LIBERTY HEAD, FEATHER
HEADDRESS, LARGE SIZE,
1856–1889
QUARTER EAGLES—$2.50
GOLD PIECES
The $2.50 gold piece, authorized on
April 2, 1792, was known as a “Quarter
Eagle” (i.e., the quarter part of an Eagle
or $10 gold piece). Striking was not begun
until 1796. As early production was
extremely limited—in no year were as
many as 10,000 struck until 1834—these
are scarce and valuable coins. Designed
by Robert Scot, the original type featured
a capped Liberty on the obverse and
shield eagle reverse. The portrait is quite
different from that used on silver coinage
and in general the engraving may be said
to be somewhat superior. No wording
other than LIBERTY adorns the obverse, with
UNITED STATES OF AMERICA on the reverse. The
composition was .9167 gold to .0833
copper, or more than nine-tenths gold,
with a weight of 4.37 grams and a
diameter that varied slightly but normally
was about 20mm.
There are two obverse types, one with
and one without a circular border of stars.
In 1808 the portrait, while retaining the
cap, was entirely redesigned. It was
shifted around to face left instead of right,
the cap was deemphasized, Liberty’s
features were redrawn in an effort at
greater femininity, her hair was made
curlier, and the eagle was likewise
refurbished. John Reich was the designer.
From 1809 to 1820 no quarter eagles
were minted. When the series was
resumed in 1821 it was with modified
obverse and reverse types and the
diameter had shrunk to 18.5mm. However,
the coin contained fully as much gold as
previously and the decreased diameter
was compensated for by a slight increase
in thickness.
The obverse was changed in 1834 to
the so-called Classic Head type, a more
stylish rendition of Liberty, designed by
the Mint’s chief designer, William Kneass
(pronounced Niece). The weight was
reduced to 4.18 grams and the
composition altered to contain less than
nine-tenths gold: .8992 to .1008 copper.
The diameter was 18.2mm. Christian
Gobrecht made some alterations to this
design in 1840 but it was not materially
changed. However, the gold content was
increased to an even .900 and the diameter
brought down to 18mm. Total gold content
by weight was .12094. This design
remained in use for sixty-seven years,
surpassed for longevity only by the
Lincoln penny (1909–present).
An interesting variation occurred in
1848, the so-called California Quarter
Eagle. In that year Colonel Mason, the
Military Governor of California, shipped
about 230 ounces of gold to Secretary of
War Marcy in Washington, D.C. Marcy
had the bullion melted down and struck
into Quarter Eagles, distinguished by the
abbreviation CAL. above the eagle’s head
on the reverse. This was not an integral
part of the design but was stamped
separately. As little more than 1,000
specimens were struck, it became a choice
collector’s item. Purchasers should be on
guard against fakes. The Gobrecht Quarter
Eagle was discontinued in 1907.
Specimens dated after 1900, and some
earlier ones, are valued primarily for their
bullion content.
PLEASE NOTE: THE PRICES
THAT ARE LISTED REFLECT A
GOLD SPOT PRICE OF $1400.00
PER OUNCE.
QUARTER EAGLES—
LIBERTY CAP, 1796–1807
QUARTER EAGLES—BUST
TYPE, TURBAN HEAD,
1808–1834
QUARTER EAGLES—
LIBERTY HEAD WITH
RIBBONS, 1834–1839 NO
MOTTO OVER EAGLE
QUARTER EAGLES—
LIBERTY HEAD WITH
CORONET, 1840–1907
QUARTER EAGLES—
INDIAN HEAD, 1908–1929
The Quarter Eagle was redesigned in
1908 by Bela Lyon Pratt. Liberty was
removed from its obverse and replaced by
a portrait of an Indian wearing a
warbonnet. A standing eagle adorned the
reverse. The coin has no raised edge and
the designs plus inscriptions are stamped
in incuse, or recessed beneath the surface,
rather than being shown in high relief. The
composition is .900 gold, .100 copper,
with a weight of 4.18 grams. Its diameter
is 18mm. with total gold content by weight
remaining at .12094 ounces. Quarter
Eagles were last struck in 1929, the year
of this nation’s financial difficulties.
$3.00 GOLD PIECES
LIBERTY HEAD WITH
FEATHER HEADDRESS,
1854–1889
Introduction and apparent public
acceptance of the gold dollar in 1849 led
to speculation on the possible usefulness
of gold coinage in other denominations.
The $3 gold piece, composed of ninetenths gold with an alloy of one-tenth
copper, was introduced in 1854. It carried
an Indian head on the obverse and a
wreathed reverse. Its diameter was
20.5mm. and the weight 5.015 grams.
Though the $3 gold piece continued to be
struck until 1889 it had become obvious
as early as pre–Civil War years that no
great demand or popularity was enjoyed
by this coin. The designer was James
Longacre. In 1854 the word DOLLARS was
set in smaller characters than
subsequently. Total gold content by weight
was .14512 ounces.
PLEASE NOTE: THE PRICES
THAT ARE LISTED REFLECT A
GOLD SPOT PRICE OF $1400.00
PER OUNCE.
STELLA—$4.00 GOLD
PIECES
LIBERTY HEAD WITH
FLOWING OR COILED
HAIR, 1879–1880
In 1879 and 1880 proofs were struck, in
limited quantities, of a $4 gold coin that
never reached circulation. It was called
Stella and was coined not only in gold but
also in various other metals. The gold
specimens are extremely valuable. There
are two obverse types, one designed by
Barber and the other by Morgan.
PLEASE NOTE: THE PRICES
THAT ARE LISTED REFLECT A
GOLD SPOT PRICE OF $1400.00
PER OUNCE.
HALF EAGLES—$5.00
GOLD PIECES, 1795–1929
The Half Eagle or $5 gold piece was
authorized on April 2, 1792, and first
struck in 1795. It has the distinction of
being the first gold coin struck by the U.S.
Mint. Production was limited in the early
years. Its designer was Robert Scot. The
composition was .9167 gold to .0833
copper alloy, yielding a weight of 8.75
grams and a diameter of (generally)
25mm. A capped portrait of Liberty facing
right adorned the obverse, with stars and
date appearing below the portrait; on the
reverse is a spread-winged eagle holding
in its beak a wreath, surrounded by the
wording UNITED STATES OF AMERICA. Some
alterations in the number of stars and size
of figures in the date will be observed.
These should be taken into close account,
as they can have a considerable bearing
on value.
In 1807 John Reich redesigned the Half
Eagle. The bust, now “capped and
draped,” was turned around to face left
and the eagle modified. A shortened bust
was introduced in 1813. A further
modification was made in 1829 but with
the same basic design retained. By this
time the Half Eagle had become an
important circulating as well as banking
piece, whose significance was to later
increase. The year 1834 brought a revised
design known as the Classic Head, the
work of William Kneass. The weight of
this new coin was 8.36 grams and its
composition .8992 gold to .1008 copper,
with a diameter of 22.5mm. The slogan IN
GOD WE TRUST, previously used on the
reverse, was dropped, probably because
of a shortage of space. This was followed
by Gobrecht’s Coronet head in 1839, used
until 1908. Its gold content was raised
slightly to nine-tenths and the copper
reduced to one-tenth. Gold content by
weight was .24187 ounces. There are
small- and large-date varieties of this
coin. In 1866, following the Civil War, IN
GOD WE TRUST was added to the rather
cramped space between the eagle’s head
and the legend UNITED STATES OF AMERICA.
Composition was as before but the weight
was changed to 8.359 grams and the
diameter reduced to 21.6mm. One of the
longest lived of coin designs, it remained
in use a full seventy years, to be replaced
by Pratt’s Indian Head in 1908.
PLEASE NOTE: THE PRICES
THAT ARE LISTED REFLECT A
GOLD SPOT PRICE OF $1400.00
PER OUNCE.
HALF EAGLES—LIBERTY
HEAD, 1795–1807 EAGLE
ON REVERSE
HALF EAGLES—DRAPED
BUST, 1807–1812, VALUE
5D ON REVERSE
HALF EAGLES—LIBERTY
HEAD, ROUND CAP, 1813–
1834 MOTTO OVER EAGLE
HALF EAGLES—LIBERTY
HEAD WITH RIBBON,
1834–1838 NO MOTTO
OVER EAGLE
HALF EAGLES—LIBERTY
HEAD WITH CORONET,
1839–1908
HALF EAGLES—INDIAN
HEAD, 1908–1929
Bela Lyon Pratt’s Indian Head design
replaced the Liberty Head Half Eagle in
1908. Like the Quarter Eagle these coins
are uniquely without raised edges and
have designs stamped in incuse or recess
rather than raised from the surface. A
standing eagle adorns the reverse, with
mint mark to the left of the value . These
Half Eagles contained 90% gold and 10%
copper with a weight of 8.359 grams. The
diameter is 21.6mm. and the gold content
by weight is .24167 ounces each. Striking
of Half Eagles was suspended during
World War I and not resumed until 1929,
their final year of production.
EAGLES—$10.00 GOLD
PIECES, 1795–1907
Gold pieces valued at $10 were
released for general circulation in 1795.
Despite the large face value and the superlarge buying power ($10 in the 1790s was
equivalent to about $200 in present-day
money), this coin was struck in substantial
numbers, chiefly as a banking piece.
Though bullion shortages, speculation, and
world economic conditions made the
Eagle’s career far from sedate, it retained
great influence throughout most of its
history. The first design, conceived by
Robert Scot, comprised a capped bust of
Liberty facing right with the so-called
Small Eagle reverse, depicting an eagle
holding a wreath in its beak. The Shield or
Heraldic Eagle replaced this type in 1797
and production was stepped up, output
reaching more than 37,000 in 1799. The
content was .9167 gold to .0833 copper,
with a weight of 17.5 grams and diameter
generally of 33mm. From 1805 to 1837 no
Eagles were struck.
When production resumed in 1838 the
portrait of Liberty had undergone a
thorough alteration at the hands of
Christian Gobrecht. This was the Coronet
type, with modified shielded eagle on the
reverse. It weighed 16.718 grams with a
9-to-1 gold content (alloyed with copper)
and diameter of 27mm. The gold content
by weight was .48375 ounces. The slogan
E PLURIBUS UNUM, previously used on the
reverse, was dropped. For many years no
motto appeared on the reverse until the
installation, in 1866, of IN GOD WE TRUST. The
composition and other specifications
remained unaltered. No change was made
until 1907 when the Indian Head obverse,
designed by Augustus Saint-Gaudens, was
introduced.
PLEASE NOTE: THE PRICES
THAT ARE LISTED REFLECT A
GOLD SPOT PRICE OF $1400.00
PER OUNCE.
EAGLES—LIBERTY HEAD,
SMALL EAGLE, 1795–1797
EAGLES—LIBERTY HEAD,
LARGE EAGLE, 1797–1804
EAGLES—LIBERTY HEAD
WITH CORONET, 1838–
1907
EAGLES—INDIAN HEAD,
1907–1933
Augustus Saint-Gaudens, a noted
sculptor and really the first artist of
international repute to design an American
coin, strove to inject a touch of creative
feeling in coin design. True to the artistic
spirit of the times he sacrificed such
supposedly old-fashioned qualities as
balance to achieve imagination of line and
composition. His eagle, on the reverse, is
totally stylized, its strength and symmetry
purposely over-emphasized. At first the
motto IN GOD WE TRUST was omitted, owing
to President Theodore Roosevelt’s
opinion that the name of God was not
suitable for use on coinage in any context.
He was overruled by Congress in 1908
and the motto appeared shortly thereafter.
Striking of Eagles, which had reached as
high as nearly 4½ million pieces in a
single year ($45,000,000 face value), was
discontinued in 1933. The Saint-Gaudens
Eagle contained 90% gold and 10%
copper, with a diameter of 27mm. and a
weight of 16.718 grams. The bullion
weight is .48375 of an ounce.
DOUBLE EAGLES—$20.00
GOLD PIECES
The Double Eagle or $20 gold piece
was the largest denomination coin issued
for regular use by the U.S. Mint. It was
introduced in 1849, as a direct result of
the California gold strikes. Discovery of
gold at Sutter’s Mill had not only made
vast new supplies available to the
government, but also focused increased
attention on gold as a medium of
exchange. Necessity for a $20 face value
coin was further prompted by the fact that
the Treasury Department was not yet
issuing paper currency.
These coins are known as Double
Eagles, as a result of being twice the size
of Eagles or $10 gold pieces. Their
composition was exactly the same as the
lower denomination gold coins, .900 fine,
or nine parts of 24K gold alloyed with one
part copper. The Double Eagle contained
.96750 of an ounce of pure gold, or just a
slight fraction under one full ounce. With
the copper content added, the coin’s
weight was more than an ounce, making it
not only our highest denomination coin but
the heaviest physically. However, it was
smaller in diameter than the silver $1, at
34mm.
The first Double Eagles carried a
portrait of Liberty facing left, by James B.
Longacre, with a heraldic eagle on the
reverse. Two significant changes were
made during the use of this design, which
was removed in 1907. In 1866 the motto IN
GOD WE TRUST was added above the eagle,
and in 1877 the statement of value (on the
reverse) was changed from TWENTY D. to
TWENTY DOLLARS.
PLEASE NOTE: THE PRICES
THAT ARE LISTED REFLECT A
GOLD SPOT PRICE OF $1400.00
PER OUNCE.
DOUBLE EAGLES—
LIBERTY HEAD, 1849–1866
DOUBLE EAGLES—
LIBERTY HEAD, 1866–1876,
WITH MOTTO AND
“TWENTY D” ON
REVERSE
DOUBLE EAGLES—
LIBERTY, 1877–1907, WITH
MOTTO AND “TWENTY
DOLLARS” ON REVERSE
DOUBLE EAGLES—$20.00
GOLD PIECES, 1907–1933
The Longacre Liberty design was
replaced by the Saint-Gaudens in 1907,
featuring a striding figure of Liberty
holding a torch on the obverse and an
eagle in flight on the reverse. A fact
seldom mentioned is that this, of all
representations of Liberty on our coins,
was the only full-face likeness, the others
being
profiles
or
semiprofiles.
Composition and weight remained as
previously. The motto IN GOD WE TRUST, at
first omitted on request of Theodore
Roosevelt, was added by an Act of
Congress in 1908. Striking of Double
Eagles ceased in 1933. This final version
of the mighty coin had a 90% gold/10%
copper composition, with a weight of
33.436 grams (of which .96750 of an
ounce was pure gold—almost a full
ounce). Its diameter was 34mm.
As a speculative item for gold
investors, the Double Eagle has enjoyed
greater popularity and media publicity in
recent months than ever in its history. This
should not be surprising, as it contains
very nearly an exact ounce of gold and its
worth as bullion can be figured easily
based upon daily gold quotations.
DOUBLE EAGLE LIBERTY
STANDING “ST.
GAUDENS” ROMAN
NUMERALS MCMVII
DOUBLE EAGLES—
LIBERTY STANDING “ST.
GAUDENS,” 1907–1908
DATE IN ARABIC
NUMERALS, NO MOTTO
ON REVERSE
DOUBLE EAGLES—
LIBERTY STANDING “ST.
GAUDENS,” 1908–1933
WITH MOTTO ON
REVERSE
COMMEMORATIVE
COINAGE
Commemorative coinage—that is, coins
whose designs present a departure from
the normal types for their denomination—
was first struck in the ancient world.
Roman emperors delighted in issuing
coins portraying members of the family or
topical events; they served an important
propaganda purpose. Commemorative
coins must be distinguished from medals,
as the former have a stated face value and
can be spent as money while the latter
serve a decorative function only. During
the Mint’s first century it coined no
commemoratives whatever. Its first was
the Columbian half dollar of 1892, issued
in connection with the Columbia
Exposition. To date the total has reached
158 pieces, of which one is a silver
dollar; one a silver quarter; 143 are half
dollars (comprising 48 major types); two
are $2.50 gold pieces; two are $50 gold
pieces; and nine are $1 gold pieces. There
is some objection to including the $50
Quintuple Eagles as commemorative
coins, as regular coins of this
denomination were never issued. They do,
however, bear a statement of face value
and are spendable.
Commemorative coins are issued by a
special Act of Congress and overseen by a
committee established for the purpose.
Sale of commemoratives is made to the
public (and coin dealers) at an advance in
price over the face value, this advance
being excused on grounds that specimens
supplied as choice and uncirculated have,
presumably, sufficient collector appeal to
be worth more than their stated
denomination. While commemoratives
have certainly not all advanced in price at
a comparable pace, all have shown very
healthy increases and proved excellent
investments for their original or early
purchasers.
A pair of medals is traditionally
collected
in
conjunction
with
commemorative silver coins and careful
note should be taken of them: the
Octagonal North American Centennial,
1828–1925, designed by Opus Fraser,
struck on thick and thin planchets in a total
issue of 40,000 (the latter are scarcer);
and the Wilson dollar, designed by
George T. Morgan of Morgan dollar fame
in connection with the opening of the
Philippine Mint. The 2 Kroner
commemoratives of 1936 issued by
Sweden are also frequently collected with
our commemoratives, though small in size
and quite plentiful, as they relate to the
Delaware Tercentenary, or 300th
anniversary.
The extent to which commemorative
coins have been used as money is not
precisely determined but is thought to be
very limited. As the original owners paid
a premium for these coins it is not likely
that many—except in time of dire need—
would have cared to exchange them
merely at face value. It should not
automatically be presumed that specimens
in less than Uncirculated condition were
indeed used as money and passed through
many
hands.
Their
substandard
preservation could well be the result of
injury, ill-advised cleaning or mounting
procedures, or wear received from
handling in traveling from collection to
collection. Nevertheless, discriminating
buyers expect commemoratives to be in
Uncirculated state and anything inferior is
worth much less (the discount being
sharper than for a circulating coin).
The existence of proofs among the
commemorative series has aroused much
debate. Commemoratives are occasionally
seen as proofs, notably the Columbian and
Isabella quarters, but this is no evidence
that all or even a majority of
commemoratives were available in proof
state. It is easy to be confused on this
point, as well-struck Uncirculated
specimens frequently have a prooflike
appearance.
The gold commemorative series began
not long after the silver, in 1903. Far
fewer gold commemoratives were issued,
as the large physical size necessary for
impressive designing resulted in a coin of
very high face value. Experiments were
made with $1 gold commemoratives,
which some critics called puny, and
goliaths of $50 denomination, which were
indeed eye-catching but well beyond the
budget of most citizens in those days. The
value of these pieces in Extremely Fine
condition is about one-third the price for
Uncirculated—ample proof that most
buying
activity
originates
with
numismatists
rather
than bullion
speculators.
EARLY
COMMEMORATIVE
COINS, 1892–1954
COLUMBIAN EXPOSITION
(Silver $.25)
Comparatively little notice was at first
taken of this handsome commemorative,
because the Columbian Exposition (at
which it was issued) had already
produced a commemorative and a larger
one, in fifty-cent denomination. The
Isabella quarter dollar, originally sold at
the exposition for $1, soon became a
popular favorite of collectors. Agitation
for it was made by the fair’s Board of
Lady Managers, which may explain why it
portrays a female on the obverse—
Isabella of Spain, who helped finance
Columbus’s voyage round the world—and
a symbol of “female industry” on its
reverse. The coin was designed by C. E.
Barber and struck in 1893.
COLUMBIAN EXPOSITION
(Silver $.50)
LAFAYETTE MONUMENT
(Silver $1.00)
The celebrated Lafayette dollar holds a
special rank among commemoratives,
being the first $1 denomination coin of its
sort and the first to portray an American
president. On its obverse is a profile bust
of General Lafayette (the French officer so
instrumental to our efforts in ending
colonial domination) over which a profile
of Washington is superimposed. The
reverse carries a fine equestrian likeness
of Lafayette, adapted from a statue put up
in Paris as a gift from the American
people. This coin was designed by C. E.
Barber and struck in 1900. It was sold
originally at twice the face value, with
proceeds going to the Lafayette Memorial
Commission.
LOUISIANA PURCHASE
EXPOSITION (Gold $1.00)
LEWIS AND CLARK
EXPOSITION (Gold $1.00)
PANAMA-PACIFIC
EXPOSITION (Silver $.50)
PANAMA-PACIFIC
EXPOSITION (Gold $1.00)
PANAMA-PACIFIC
EXPOSITION (Gold $2.50)
PANAMA-PACIFIC
EXPOSITION (Gold $50.00)
This huge coin, containing nearly 2½
ounces of gold, was not the world’s
largest gold piece but by far the most
substantial coin of that metal struck by the
U.S. government. (To give some
indication of changes in the market from
1915, the date of issue, until today, $50
worth of gold today is about one-sixth of
an ounce.) It was issued for the PanamaPacific Exposition and was struck in two
varieties, one with round and one with
octagonal edge, the former being
somewhat scarcer and more valuable.
Minerva is pictured on the obverse and
the Athenian state symbol, the owl,
representative of wisdom, on the reverse.
The place of issue was San Francisco and
the designer Robert Aitken. This is
definitely not a piece for bullion
speculators as its value is many times that
of the gold content and under no
circumstances would a $50 Panama-
Pacific—or any U.S. gold commemorative
—be melted down.
ROUND
OCTAGONAL
McKINLEY MEMORIAL
(Gold $1.00)
ILLINOIS CENTENNIAL
(Silver $.50)
MAINE CENTENNIAL
(Silver $.50)
PILGRIM
TERCENTENARY (Silver
$.50)
MISSOURI CENTENNIAL
(Silver $.50)
ALABAMA CENTENNIAL
(Silver $.50)
GRANT MEMORIAL (Silver
$.50)
GRANT MEMORIAL (Gold
$1.00)
MONROE DOCTRINE
CENTENNIAL (Silver $.50)
HUGUENOT-WALLOON
TERCENTENARY (Silver
$.50)
LEXINGTON-CONCORD
SESQUICENTENNIAL
(Silver $.50)
STONE MOUNTAIN
MEMORIAL (Silver $.50)
CALIFORNIA DIAMOND
JUBILEE (Silver $.50)
FORT VANCOUVER
CENTENNIAL (Silver $.50)
AMERICAN
INDEPENDENCE
SESQUICENTENNIAL
(Silver $.50)
AMERICAN
INDEPENDENCE
SESQUICENTENNIAL (Gold
$2.50)
OREGON TRAIL
MEMORIAL (Silver $.50)
VERMONT-BENNINGTON
SESQUICENTENNIAL
(Silver $.50)
HAWAII DISCOVERY
SESQUICENTENNIAL
(Silver $.50)
MARYLAND
TERCENTENARY (Silver
$.50)
TEXAS INDEPENDENCE
CENTENNIAL (Silver $.50)
DANIEL BOONE
BICENTENNIAL (Silver
$.50)
CONNECTICUT
TERCENTENARY (Silver
$.50)
ARKANSAS CENTENNIAL
(Silver $.50)
ARKANSAS-ROBINSON
(Silver $.50)
HUDSON, NEW YORK,
SESQUICENTENNIAL
(Silver $.50)
CALIFORNIA-PACIFIC
EXPOSITION, SAN DIEGO
(Silver $.50)
OLD SPANISH TRAIL
(Silver $.50)
PROVIDENCE, RHODE
ISLAND, TERCENTENARY
(Silver $.50)
CLEVELAND
CENTENNIAL AND GREAT
LAKES EXPOSITION
(Silver $.50)
WISCONSIN
TERRITORIAL
CENTENNIAL (Silver $.50)
CINCINNATI MUSIC
CENTER (Silver $.50)
LONG ISLAND
TERCENTENARY (Silver
$.50)
YORK COUNTY, MAINE,
TERCENTENARY (Silver
$.50)
BRIDGEPORT,
CONNECTICUT,
CENTENNIAL (Silver $.50)
LYNCHBURG, VIRGINIA,
SESQUICENTENNIAL
(Silver $.50)
ALBANY, NEW YORK,
CHARTER 250TH
ANNIVERSARY (Silver $.50)
ELGIN, ILLINOIS,
PIONEER MEMORIAL
(Silver $.50)
SAN FRANCISCO–
OAKLAND BAY BRIDGE
(Silver $.50)
COLUMBIA, SOUTH
CAROLINA,
SESQUICENTENNIAL
(Silver $.50)
DELAWARE
TERCENTENARY (Silver
$.50)
BATTLE OF GETTYSBURG
75TH ANNIVERSARY
(Silver $.50)
NORFOLK, VIRGINIA,
BICENTENNIAL AND
TERCENTENARY (Silver
$.50)
ROANOKE
COLONIZATION 350TH
ANNIVERSARY (Silver $.50)
BATTLE OF ANTIETAM
75TH ANNIVERSARY
(Silver $.50)
NEW ROCHELLE, NEW
YORK, 250TH
ANNIVERSARY (Silver $.50)
IOWA STATEHOOD
CENTENNIAL (Silver $.50)
BOOKER T. WASHINGTON
MEMORIAL ($.50)
BOOKER T.
WASHINGTON–GEORGE
WASHINGTON CARVER
(Silver $.50)
MODERN COMMEMORATIVE
COINS, 1982 TO DATE
Note: Regarding ABP prices, dealers
will usually discount for coins that are
not in the original packaging.
GEORGE WASHINGTON’S
BIRTHDAY 250TH
ANNIVERSARY (Silver $.50)
The U.S. resumed its commemorative
coin program with this silver half dollar
in 1982, after a lapse of twenty-eight
years. The reason for its long suspension
was that the value of silver far exceeded
the traditional
face values
of
commemorative coins. However, since
commemoratives are issued for collectors
and not for circulation, it was finally
decided that the public would not object
to low face values. The year 1982 marked
the 250th anniversary of George
Washington’s birth. This was considered
an appropriate occasion for resumption of
the commemorative series. This coin is
.900 silver and has the same
specifications
as
earlier
silver
commemorative half dollars, and likewise
the same as circulating half dollars up to
1964. The obverse carries an equestrian
portrait of Washington looking left, with a
view of Mount Vernon on the reverse. The
artistic style was designed to conform, at
least generally, to that of the majority of
earlier commemorative halves.
OLYMPIAD GAMES XXIII,
LOS ANGELES (Silver
$1.00)
The set of two commemorative silver
dollars issued in 1983 and 1984 for the
Los Angeles Olympic Games marked the
first $1 silver commemoratives in more
than eighty years. Enormous publicity and
controversy surrounded these coins,
concerning their designs, face values, and
the method of distributing them to the
public. The first coin, dated 1983,
pictures a discus thrower on the obverse
with a profile bust of an eagle on the
reverse. The second, dated 1984, shows
the entrance to the Los Angeles Coliseum
(site of the 1984 Games) on the obverse,
and a full-length eagle on the reverse.
These coins have the same specifications
as the standard U.S. silver dollar, last
struck in 1935, and contain approximately
three-fourths of an ounce of .999+ silver.
Debate arose over whether or not they
should show a face value and, if so, the
amount. It was decided that they should
have a $1 face value, in spite of the fact
that they contain several times that value
in silver. This virtually ensured that they
—unlike some commemoratives of the
past—will never end up in circulation.
Yet they are legal tender, and could be
passed at $1 if an owner desired.
OLYMPIAD GAMES XXIII,
LOS ANGELES (Gold
$10.00)
This $10 gold commemorative, carrying
the date 1984, marked U.S. re-entry into
commemorative
gold—which many
forecasters claimed would never occur.
Issuance of a gold commemorative under
modern circumstances called for a drastic
change in approach. Traditionally (prior
to the Gold Recall Act of 1933), our gold
commemoratives contained slightly less
than their face value in gold, just as did
our gold circulating coins. With today’s
much higher gold prices, the Los Angeles
XXIII Olympiad $10 gold commemorative
contains about twenty times its face value
in gold. They were distributed to the
public at prices that took this factor into
account, as well as including a handling
fee (which many persons in the
numismatic community charged to be
exorbitant). A pair of torch bearers is
shown on the obverse, symbolizing the
ceremony of “lighting the Olympic flame”
to open the Games. The American eagle
symbol with stars, arrows, and branches
is pictured on the reverse. This coin has
the same specifications used in striking
circulating $10 gold pieces, prior to their
discontinuance.
STATUE OF LIBERTY–
ELLIS ISLAND
CENTENNIAL (Clad $.50)
The U.S. Statue of Liberty Coin
Program honored the centennial of the
Statue of Liberty and Ellis Island. It was
the most successful commemorative coin
program in the history of the Mint. More
than 15 million gold, silver, and clad
Liberty coins were sold, raising more than
$83 million in surcharges used to renovate
the Statue of Liberty and Ellis Island.
STATUE OF LIBERTY–
ELLIS ISLAND
CENTENNIAL (Silver $1.00)
The Statue of Liberty commemorative
silver dollar, .900 Fine: This beautiful
coin commemorates and celebrates the
Statue of Liberty. The obverse portrays a
classic likeness of our Lady of Liberty
standing on Ellis Island. The reverse
shows the Torch of Liberty with the
famous inscription inviting all of those
who love and look for freedom.
STATUE OF LIBERTY–
ELLIS ISLAND
CENTENNIAL (Gold Half
Eagle)
The Statue of Liberty $5 gold
commemorative: The obverse depicts the
head of the Statue of Liberty and the date.
The reverse is a version of a flying eagle.
CONSTITUTION
BICENTENNIAL (Silver
$1.00)
The U.S. Constitution Coin Program
commemorated the bicentennial of the
Constitution. More than $52.6 million in
surcharges was raised from the sale of
more than 4 million gold and silver coins.
All surcharges went to reduce the national
debt.
The Constitution silver dollar
commemorative, .900 Fine: The obverse
shows a quill pen and the words WE THE
superimposed over the Constitution
document. The reverse depicts a group of
“We the People.”
PEOPLE
CONSTITUTION
BICENTENNIAL (Gold Half
Eagle)
The
Constitution
$5
gold
commemorative: The obverse depicts a
flying eagle with a superimposed quill
pen. The reverse again shows the quill
pen over which is superimposed WE THE
PEOPLE.
OLYMPIAD GAMES XXIV,
CALGARY, SEOUL (Silver
$1.00)
The 1988 U.S. Olympic Coin Program
was created to raise money for the U.S.
Olympic Committee to fund Olympic and
amateur training programs. More than
$22.9 million, generated by the sale of the
1.9 million Olympic gold and silver coins,
was contributed to the U.S. Olympic
Committee.
OLYMPIAD GAMES XXIV,
CALGARY, SEOUL (Gold
Half Eagle)
BICENTENNIAL OF
CONGRESS (Clad Half
Dollar)
This coin program commemorated the
bicentennial of the U.S. Congress. More
than $14.6 million in surcharges was
raised from the sale of more than 2 million
gold, silver, and clad Congressional coins
to restore and preserve public areas of the
U.S. Capitol.
BICENTENNIAL OF
CONGRESS (Silver $1.00)
BICENTENNIAL OF
CONGRESS (Gold Half
Eagle)
EISENHOWER BIRTHDAY
CENTENNIAL (Silver $1.00)
The 1990 Dwight David Eisenhower
commemorative coin celebrated the 100th
anniversary of the birth of the 34th
president of the United States, and
honored his military career and peacetime
leadership. More than 1.3 million
Eisenhower centennial silver dollar coins
were sold, generating more than $9.7
million in surcharges to reduce the
national debt.
MOUNT RUSHMORE 50TH
ANNIVERSARY (Clad Half
Dollar)
The Mount Rushmore anniversary coins
commemorated the 50th anniversary of the
completion of the historic Mount
Rushmore
National
Monument.
Approximately $12 million in surcharges
raised from the sale of these coins has
been paid to the Mount Rushmore
National Memorial Society to assist in
efforts to improve, enlarge, and renovate
the Memorial.
MOUNT RUSHMORE 50TH
ANNIVERSARY (Silver
$1.00)
MOUNT RUSHMORE 50TH
ANNIVERSARY (Gold Half
Eagle)
KOREAN WAR 38TH
ANNIVERSARY (Silver
$1.00)
The Korean War Memorial coin
commemorated the 38th anniversary of the
end of the Korean War. A surcharge of $7
per coin sold was designated to assist in
the construction of the Korean War
Veterans Memorial to be built in
Washington, D.C. More than $5.8 million
was raised from the sale of more than
830,000 coins. President George H. W.
Bush participated in the groundbreaking
ceremony for the Memorial on June 14,
1992 (Flag Day).
UNITED SERVICE
ORGANIZATION’S 50TH
ANNIVERSARY (Silver
$1.00)
The United Services Organization coin
commemorated the 50th anniversary of the
USO and honored its continuing
commitment to serve the needs of
America’s Armed Forces at home and
abroad. Sales of the silver dollar resulted
in more than $3.1 million in surcharges
divided equally between the USO (to fund
the organization’s many programs
worldwide for the members of the United
States military and their families) and the
Treasury Department (to reduce the
national debt).
OLYMPIAD GAMES XXV,
ALBERTVILLE,
BARCELONA (Clad $.50)
Designs for the 1992 U.S. Olympic gold
$5, silver $1, and clad $.50 coins were
selected after an open coin design
competition held by the U.S. Mint.
Surcharges included in the price of each
coin were paid to the United States
Olympic Committee to train and finance
U.S. Olympic athletes. More than 1.4
million coins were sold, resulting in more
than $9 million in contributions to the U.S.
Olympic Committee.
OLYMPIAD GAMES XXV,
ALBERTVILLE,
BARCELONA (Silver $1.00)
OLYMPIAD GAMES XXV,
ALBERTVILLE,
BARCELONA (Gold Half
Eagle)
WHITE HOUSE
BICENTENNIAL (Silver
$1.00)
The Silver Dollar Coin Program
commemorated the 200th anniversary of
the laying of the White House cornerstone.
The authorized mintage of 500,000 coins,
with a surcharge of $10 per coin, sold out
within the pre-issue period. Surcharges of
$5 million went to the White House
Endowment Fund to maintain the historic
public rooms of the White House and to
support the White House collection of fine
art and historic furnishings.
COLUMBUS DISCOVERY
QUINCENTENNIAL (Clad
$.50)
The Columbus Quincentenary Coin
Program celebrated the 500th anniversary
of the discovery of America by
Christopher Columbus. Sales of the coins
raised more than $7.6 million in
surcharges to endow the Christopher
Columbus Fellowship Foundation. The
Foundation awards fellowships to
promote “new discoveries in all fields of
endeavor for the benefit of mankind.”
COLUMBUS DISCOVERY
QUINCENTENNIAL (Silver
$1.00)
COLUMBUS DISCOVERY
QUINCENTENNIAL (Gold
Half Eagle)
BILL OF RIGHTS—JAMES
MADISON (Clad $.50)
The gold $5, silver $1, and silver $.50
coins commemorate the first ten
amendments to the Constitution of the
United States, known as the Bill of Rights,
and the role that James Madison, the
fourth president of the United States,
played in supporting their adoption. Sales
of the coins raised more than $9 million in
surcharges for the James Madison
Memorial Fellowship Trust Fund to
encourage teaching and graduate study of
the Constitution of the United States.
BILL OF RIGHTS—JAMES
MADISON (Silver $1.00)
BILL OF RIGHTS—JAMES
MADISON (Gold Half Eagle)
WW II 50TH
ANNIVERSARY (Clad $.50)
The gold $5, silver $1, and clad $.50
coins commemorate the involvement of the
United States in World War II. Sales of
the coins raised more than $7 million in
surcharges to help fund the construction of
a memorial in Washington, D.C., to honor
members of the Armed Forces of the
United States who served in World War
II, and to create a United States D-Day
and Battle of Normandy Memorial in
Normandy, France.
WW II 50TH
ANNIVERSARY (Silver
$1.00)
WW II 50TH
ANNIVERSARY (Gold Half
Eagle)
WORLD CUP SOCCER
(Clad $.50)
The World Cup commemorative coins,
established by Public Law 102-281,
authorized the Mint to produce gold $5,
silver $1, and clad $.50 coins to celebrate
the World Cup, which was staged for the
first time ever in the United States.
Surcharges included in the price of each
coin were paid to World Cup USA 1994,
Inc. for organizing and staging the 1994
World Cup, and to fund scholarships
through the United States Soccer
Federation Foundation. The World Cup
coins were available individually, in sets,
and in special Host City venue editions
featuring the nine sites where the World
Cup games were played.
WORLD CUP SOCCER
(Silver $1.00)
WORLD CUP SOCCER
(Gold Half Eagle)
THOMAS JEFFERSON
BIRTHDAY 250TH
ANNIVERSARY (Silver
$1.00)
Public Law 103-186 signed by
President Clinton on December 14, 1993,
authorized the Mint to produce silver
dollars to commemorate the 250th
anniversary of the birth of Thomas
Jefferson on April 13, 1743. The Thomas
Jefferson Coin and Currency Set provided
a brief history of Jefferson’s role in
establishing America’s decimal coinage
system, from his earliest thoughts on the
subject to Congressional approval of
Jefferson’s plan, and his role in
establishing the first U.S. Mint.
Surcharges included in the price of each
coin were paid to the Thomas Jefferson
Memorial Foundation to help fund
educational programs and restoration of
Monticello,
Jefferson’s
primary
residence, and to the Corporation for
Jefferson’s Poplar Forest to help fund
restoration of Jefferson’s retreat home.
This program sold out during the pre-issue
period with surcharges paid as follows:
The Thomas Jefferson Memorial
Foundation had received $5 million and
Jefferson’s Poplar Forest had received
$714,630 as of June 27, 1994.
WOMEN IN MILITARY
SERVICE FOR AMERICA
MEMORIAL (Silver $1.00)
Authorized by Congress in 1986, The
Women in Military Service for America
Memorial will document the history of
American servicewomen. The memorial
will provide an unprecedented tribute to
military women, at the same time
encouraging Americans of all ages to
learn about the women who have defended
America throughout history.
The Women in Military Service for
America Memorial Foundation (WIMSA)
has taken on the task of raising the funds
required to build the memorial, which
according to legislation must be built
without federal funds. To date, WIMSA
has nearly $11 million available for the
memorial, but an additional $5 million is
needed before construction can begin. The
memorial is to be built at the gateway to
Arlington National Cemetery.
• The exterior will incorporate the
existing
1930s
neo-classical
hemicycle, which serves as the
ornamental gateway to Arlington
National Cemetery. Restoration and
adaptation will allow for a memorial
structure above ground and an
educational center below.
• The terrace will feature an arc of
glass “pages” inscribed with
quotations
about
or
from
servicewomen. Acting as skylights,
the glass panels will dramatically
reflect the quotations on the walls of
the gallery below.
• The Court of Honor will center on a
waterfall and reflecting pool. A
continuous stream of water will
gather to form a waterfall, and from
there flow into a narrow channel
leading to a circular reflecting pool.
The flow of water will symbolize the
“singular voices” of American
servicewomen coming together as a
“chorus of voices.”
• Visitors will be able to access a
computer register that will feature the
name and picture of each registered
servicewoman with service details
and their most memorable experience.
To date 100,000 women have
registered and WIMSA expects to
register an additional 400,000 by the
time the memorial is dedicated.
Surcharges from the 500,000 Women in
Military Service for America Memorial
commemorative silver dollars will
contribute a maximum of $5 million
toward construction. Regarding the coins
themselves, each weighs 26.730 grams
and is 1.5 inches in diameter.
Composition is 90% silver (0.76) and
10% copper. Mintage consists of 500,000
maximum of each coin, as authorized by
Congress.
Both Proof and Uncirculated versions
of the WIMSA silver dollars were minted
and sold individually or in a three-coin
set. Coins were available at discounted
prices during the pre-issue period of July
29–September 9, 1994. In accordance
with congressional legislation, once
mintage levels of 500,000 were sold, no
more coins were issued, and no coins
were minted after April 30, 1995.
The Proof version of the coins was
minted at the U.S. Mint in Philadelphia,
Pennsylvania. Uncirculated coins were
minted at the U.S. Mint in West Point,
New York.
Designed by Mint engraver T. James
Ferrell, the obverse of the coin profiles
servicewomen and represents the five
branches of the U.S. military. The coin’s
reverse was designed by Thomas D.
Rogers, Sr., and portrays the approved
design for the Women in Military Service
for America Memorial.
VIETNAM VETERANS
MEMORIAL (Silver $1.00)
Since the Vietnam Veterans Memorial
was completed over two decades ago, it
has been visited by more than 2.5 million
people per year, making it one of the most
frequented memorials in the nation’s
capital. It is estimated that 80 percent of
the visitors to The Wall are moved to
touch the names on its polished black
surface.
The Memorial, truly unique in its
exposed, accessible design, is susceptible
to a unique set of conservation problems.
The Vietnam Veterans Memorial Fund
(VVMF) is currently involved in an
extensive effort to provide funds for
reparations, long-term maintenance, and
ensuring that the record of names
continues to be updated.
• Cracks have appeared in a number of
the black granite panels. Extensive
research is needed in order to confirm
the cause of the cracks and to
recommend action to remedy any
damage and deterioration. To date,
theories about the cracks conflict.
Possible causes range from pressure
exerted by the ground behind the
Memorial to the condition and
placement of the support anchors.
• New names to The Wall are being
added as appropriate. The additions
record those individuals who have
died as a direct result of war injuries
incurred in Vietnam. Changes in status
from missing in action to killed in
action are made as remains are
returned from the war zone.
• Additional granite panels will be
purchased to allow for the
replacement
of
damaged
or
vandalized sections. The panels need
to be stored in special frames
enabling them to weather consistently
with the existing Memorial. The
granite is mined in Bangalore, India,
and fabricated and cut to size in
Barre, Vermont.
• Repairs to the cobblestone walkways
and lighting system are continually
needed due to extensive foot traffic.
• Funding for the Memorial’s
reparations and additions is not
available through the U.S. Park
Service due to budget limitations and
must be raised entirely from private
sources.
Surcharges raised from 500,000
Vietnam
Veterans
Memorial
commemorative silver dollars contributed
a maximum of $5 million to the repair and
long-term maintenance of the Memorial.
Each coin weighs 26.730 grams and the
diameter is 1.5 inches. Composition is
90% silver (0.76) and 10% copper, and
500,000 maximum of each coin were
minted, as authorized by Congress.
Both Proof and Uncirculated versions
of the U.S. Veterans commemorative
silver dollars were minted and were sold
individually or in a three-coin set. Coins
were available at discounted prices,
during the pre-issue period of July 29–
September 9, 1994. In accordance with
congressional legislation, once mintage
levels of 500,000 were sold, no more
coins were issued, and no coins were
minted after April 30, 1995.
The Proof version of the coins was
minted at the U.S. Mint in Philadelphia,
Pennsylvania. Uncirculated coins were
minted at the U.S. Mint in West Point,
New York.
The obverse of the coin, designed by
Mint engraver John Mercanti, features a
section of the Vietnam Veterans Memorial
Wall, with an outstretched hand touching a
name. Thomas D. Rogers, Sr., also a U.S.
Mint engraver, designed the coin’s
reverse, which depicts three medals
awarded during the Vietnam War.
NATIONAL PRISONER OF
WAR MUSEUM (Silver
$1.00)
The National Prisoner of War Museum,
to be built in Andersonville, Georgia,
aims to communicate the prisoner of war
(POW) experience regardless of when,
where, why, or how the individual was
captured or imprisoned. For the first time,
hundreds of POW artifacts and documents
will be used to help visitors understand
the horrors, stress, and suffering of those
denied their freedom during periods of
war. The museum will provide a longawaited tribute to American POWs from
the American Revolution to the recent
Somalian peace-keeping efforts.
The American Ex-Prisoners of War and
the National Park Service have joined
together to make the museum a reality.
Funds raised since 1984 enabled
groundbreaking and paid for the
installation of utilities in the summer of
1994, while the state of Georgia is funding
access roads and signage.
• The museum’s location will be the
grounds of the largest prisoner of war
camp operated during the Civil War,
where nearly 13,000 of the 45,000
imprisoned soldiers died during
fourteen months of operation.
• The exhibits have been designed to
take visitors on a journey through the
life of the POW, from the trauma of
initial capture to the time of liberation
or repatriation. The different aspects
of the POW’s existence to be
highlighted are: Capture, Physical
Environment, Living Conditions,
Communications, Privation, Morale
a n d Friendships, and, finally,
Freedom. A special section entitled
“Those Who Wait” will convey the
devotion and suffering of family
members and friends.
• Visitors will exit through the
Commemorative Courtyard, allowing
them to reflect on the experience and
history just witnessed. Fresh water, a
highly valued commodity for all
POWs, will run through the courtyard
featuring a bronze statue, which is
symbolic of all POWs attempting to
drink from the stream.
Proceeds from the Prisoner of War
commemorative silver dollar will
contribute significantly to the millions
needed for the National POW Museum.
The first $3 million raised is designated
for the museum’s construction; the next
million will create an endowment fund for
maintenance; and the final one million
will go to maintaining national Veterans
Administration cemeteries. Each silver
dollar weighs 26.730 grams and the
diameter is 1.5 inches. Composition is
90% silver (0.76) and 10% copper, and
mintage is 500,000 maximum of each coin,
as authorized by Congress.
Both Proof and Uncirculated versions
of the U.S. Veterans commemorative
silver dollars were minted and were sold
individually or in a three-coin set. Coins
were available at discounted prices,
during the pre-issue period of July 29–
September 9, 1994. In accordance with
congressional legislation, once mintage
levels of 500,000 were sold, no more
coins were issued, and no coins were
minted after April 30, 1995.
The Proof version of the coins was
minted at the U.S. Mint in Philadelphia,
Pennsylvania. Uncirculated coins were
minted at the U.S. Mint in West Point,
New York.
The obverse of the coin was designed
by Department of Veterans Affairs
employee Tom Nielsen and engraved by
Alfred Maletsky. A chained eagle breaks
free through a ring of barbed wire.
“Freedom,” also breaking through the
barbed wire, is inscribed to the right of
the eagle’s wing. The coin’s reverse was
designed by Edgar Z. Steever IV and
portrays the proposed design for the
National Prisoner of War Museum.
UNITED STATES CAPITOL
BICENTENNIAL (Silver
$1.00)
The U.S. Capitol commemorative silver
dollar weighs 26.730 grams and its
diameter is 1.5 inches. Its composition is
90% silver and 10% copper. Mintage
consisted of 500,000 coins, as authorized
by Congress. An Architectural History
package chronicles the development of the
Capitol’s architecture, and features a
Proof coin.
Both Proof and Uncirculated versions
of the U.S. Capitol commemorative silver
dollar were minted. Coins were available
at discounted prices, during the pre-issue
period of September 9–October 21, 1994.
In accordance with Congressional
legislation, once mintage levels of
500,000 were reached, no more coins
were issued, and no coins were minted
after April 30, 1995.
The Proof version of the coins was
minted at the U.S. Mint in San Francisco,
California. Uncirculated coins were
minted at the U.S. Mint in Denver,
Colorado.
The obverse of the coin, designed by
Mint Sculptor/Engraver William C.
Cousins, features a view of the Capitol
dome. A ring of thirteen stars,
representing the original states, encircles
the statue of Freedom. LIBERTY and IN GOD WE
TRUST are inscribed to the left of the dome.
An eagle, shield, and American flags are
portrayed on the reverse of the coin, as
they appear in one of four stained glass
windows installed in the grand stairways
of the House and Senate wings. The
intricate design was executed by Mint
Sculptor/Engraver John Mercanti. The
w ords UNITED STATES OF AMERICA and ONE
DOLLAR decorate the border of the coin.
CIVIL WAR
BATTLEFIELDS (Clad $.50)
The clad half dollar weighs 11.340
grams, ± 0.454 gram. Its diameter is
30.61mm. (1.205 in.), ± 0.08mm. (± 0.003
in.), and composition is 92% copper and
8% nickel. The maximum mintage as
authorized by Congress was 2,000,000.
Both Proof and Uncirculated versions
of the clad half dollar were struck at the
U.S. Mint in San Francisco, California.
The obverse of the clad half dollar,
designed by Don Troiani, is a tribute to
the Civil War drummer boys. The reverse,
designed by T. James Ferrell, depicts a
battlefield scene and has the inscription
ENRICHING OUR FUTURE BY PRESERVING OUR PAST.
CIVIL WAR
BATTLEFIELDS (Silver
$1.00)
The silver dollar in this series weighs
26.730 grams, ± 0.400 grams. Diameter is
38.10mm. (1.5 in.), ± 0.08mm. (± 0.003
in.), and its composition is 90% silver and
10% copper. The maximum mintage as
authorized by Congress was 1,000,000.
The Proof version of the coin was
struck at the U.S. Mint in San Francisco,
California, and the Uncirculated version
was struck at the U.S. Mint in
Philadelphia, Pennsylvania.
The obverse of the silver dollar,
designed by Don Troiani, shows an
infantryman raising a canteen to the lips of
a wounded foe. The reverse, designed by
John Mercanti, displays a quotation from
Joshua Chamberlain, the college teacher
from Maine who became one of the heroes
of Gettysburg.
CIVIL WAR
BATTLEFIELDS (Gold Half
Eagle)
The gold $5 weighs 8.359 grams ±
0.042 grams, and its diameter is 21.59mm.
(0.850 in.) ± 0.08mm. (± 0.003 in.).
Composition consists of 90% gold, 6%
silver, and 4% copper. The maximum
mintage as authorized by Congress was
300,000.
Both Proof and Uncirculated versions
of the coin were struck at the U.S. Mint in
West Point, New York.
The obverse of the gold $5 coin,
designed by Don Troiani, shows a Civil
War bugler on horseback sounding a call
to the troops. The reverse, designed by
Alfred Maletsky, carries the image of a
bald eagle, symbol of American strength.
SPECIAL OLYMPICS
WORLD GAMES (Silver
$1.00)
OLYMPIAD GAMES XXVI,
ATLANTA, GEORGIA (Clad
$.50)
Each clad commemorative coin weighs
11.34 grams and its diameter is 1.21
inches. (30.61mm.). Composition consists
of 92% copper and 8% nickel. The
maximum mintage as authorized by
Congress is as follows: 1995—2,000,000
each of two clad coins; 1996—3,000,000
each of two clad coins.
The Proof version of the clad coins was
struck at the San Francisco Mint and the
Uncirculated at the Denver Mint.
Regarding the obverse of the 1995
coins, there were two types: a Basketball
obverse, designed by Clint Hansen, and a
Baseball obverse, designed by Edgar
Steever. There was a common 1995
reverse showing a globe, designed by T.
James Ferrell.
For the 1996 coins, there was a
Swimming obverse, designed by William
Krawczewicz, and a Soccer obverse,
designed by Clint Hansen. Atlanta
Centennial Olympic Games Logo was the
common 1996 reverse, designed by
Malcolm Farley.
OLYMPIAD GAMES XXVI,
ATLANTA, GEORGIA
(Silver $1.00)
The silver $1 commemorative coin
weighs 26.73 grams and its diameter is
1.5 inches. (38.10mm.). Composition is
90% silver and 10% copper. Maximum
mintage as authorized by Congress was:
1995—750,000 each of four silver coins,
and 1996—1,000,000 each of four silver
coins.
The Proof version of the silver dollars
was struck at the Philadelphia Mint and
the Uncirculated coins at the Denver Mint.
Regarding the 1995 coins, there
appeared a Gymnastics obverse (designed
by Jim Sharpe), Paralympics—Blind
Runner obverse (designed by Jim Sharpe),
Athletics (Track & Field) obverse
(designed by John Mercanti), and a
Cycling obverse (designed by John
Mercanti). Clasped Hands was the
common 1995 reverse (designed by
William Krawczewicz).
For 1996, there was a Tennis obverse
(designed by Jim Sharpe), Paralympics—
Wheelchair Athlete obverse (designed by
Jim Sharpe), Rowing obverse (designed
by Bart Forbes), and Athletics (High
Jump) obverse (designed by Calvin
Massey). Atlanta Centennial Olympic
Games Logo was the common 1996
reverse (designed by Thomas D. Rogers,
Sr.).
OLYMPIAD GAMES XXVI,
ATLANTA, GEORGIA (Gold
Half Eagle)
The $5 gold commemorative coin
weighs 8.359 grams and its diameter is
.850 inches. (21.59mm.). Composition is
90% gold and 10% alloy. The maximum
mintage as authorized by Congress was:
1995—175,000 each of two gold coins;
1996—300,000 each of two gold coins.
The Proof and Uncirculated versions of
the gold coins were struck at the West
Point Mint, New York.
The 1995 coins carry a Torch Runner
obverse, designed by Frank Gasparro, and
an Olympic Stadium obverse, designed by
Marcel Jovine. An eagle is the common
1995 reverse, designed by Frank
Gasparro.
For 1996, there is a Flag Bearer
obverse, designed by Patricia L. Verani,
and a Cauldron obverse, designed by
Frank Gasparro. Atlanta Centennial
Olympic Games Logo with Wreath is the
common 1996 reverse, designed by
William Krawczewicz.
SMITHSONIAN
INSTITUTION 150TH
ANNIVERSARY (SILVER
$1.00)
The Smithsonian Institution was
founded in 1846 with proceeds from the
estate of James Smithson, a noted British
chemist and mineralogist who discovered
the zinc ore now known as “Smithsonite.”
In his will, Smithson bequeathed his entire
estate, in excess of $500,000 in British
gold sovereigns, to “the United States of
America to found at Washington, under the
name of the Smithsonian Institution, an
establishment for the increase and
diffusion of knowledge.”
The obverse of the silver dollar, with
limited mintage of 650,000 is by U.S.
Mint Sculptor/Engraver Thomas D.
Rogers, Sr. Rogers’s design features the
Smithsonian Institution building known as
“the Castle,” bordered by laurel leaves on
each side and below by the inscription
“Smithsonian” and the dates “1846–
1996,” recognizing the sesquicentennial of
the Congressional Act establishing the
Institution.
The reverse of the silver dollar, by
Mint Sculptor/Engraver John Mercanti,
depicts an allegorical figure atop the
world, carrying the torch of knowledge
and a scroll inscribed, “art, history, and
science”—the major disciplines for which
the Smithsonian is known. At the right are
inscribed Smithson’s words, “For the
increase and diffusion of knowledge.”
The obverse of the gold $5 coin, with a
limited mintage of 100,000, is by Mint
Sculptor/Engraver Al Maletsky. It features
a bust of James Smithson in the classical
style popular in the early 1800s and the
sesquicentennial dates. The reverse, by
Sculptor/Engraver T. James Ferrell,
features
the
widely
recognized
Smithsonian sunburst symbol.
SMITHSONIAN
INSTITUTION 150TH
ANNIVERSARY (GOLD
$5.00)
NATIONAL COMMUNITY
SERVICE SILVER DOLLAR
This limited edition commemorative
silver dollar, produced at the San
Francisco Mint, honors the millions of
Americans who give generously of their
time and energy volunteering at schools
and youth service programs, helping with
the elderly, and contributing to other
community service projects.
Surcharges included in the price of the
coin will go to the National Community
Service Trust, a nonprofit organization
formed to support and encourage the
development of innovative community
service programs and courses at
educational
institutions
and
in
communities across the nation.
The coin’s obverse, designed by U.S.
Mint sculptor/engraver Thomas D.
Rogers, Sr., features a standing figure of
Liberty, inspired by an original design by
renowned sculptor Augustus SaintGaudens for the 1905 Women’s Auxiliary
of the Massachusetts Civil Service
Reform Association. With her right hand,
Liberty extends a lamp, shedding light
over a book, symbolizing learning and
discovery. Her left hand holds a shield. In
the background, the sun encircles the
flame of the lamp, symbolizing the light of
knowledge. Saint-Gaudens is widely
acknowledged as America’s foremost
sculptor and engraver of the 20th century.
The reverse of the coin, by U.S. Mint
sculptor/engraver William C. Cousins,
bears the inscription “Service for
America” at center, encircled by a laurel
wreath.
U.S. BOTANIC GARDEN
Silver ($1.00)
The U.S. Botanic Garden silver dollar
celebrates the vision of our founding
fathers, including George Washington,
Thomas Jefferson, and James Madison,
realized when President James Monroe
signed legislation in 1820 that led to the
creation of what is now the oldest
continually operating botanic garden in the
nation.
The silver dollar’s obverse design, by
Edgar Z. Steever, IV, depicts the garden’s
multiarched French facade—reminiscent
of early renderings of Monticello and the
Lincoln Memorial. The silver dollar’s
reverse design, by William C. Cousins,
presents a timeless rendition of America’s
national flower—the rose—beneath a
remarkably detailed rose garland.
Public Law 103-328, signed by
President Clinton on September 29, 1994,
calls for minting of not more than 500,000
90% silver coins. A portion of the
proceeds from the sale of the coins go to
the National Fund for the U.S. Botanic
Garden to fund the National Garden in
Washington, D.C.
Of special interest to collectors, the
U.S. Botanic Garden commemorative
silver dollar is included in the last
Prestige Set that the U.S. Mint will offer,
with a limited edition of 80,000 sets. The
Prestige Set series includes the Proof U.S.
Botanic Garden silver dollar and Proof
versions of the 1997 Kennedy half dollar,
Washington quarter, Roosevelt dime,
Jefferson nickel, and Lincoln cent.
The Mint offers a limited edition of
25,000 sets. The U.S. Botanic Garden
Coinage and Currency Set is available by
mail order only. This set features an
Uncirculated 1997 U.S. Botanic Garden
silver dollar, an Uncirculated 1997
Jefferson nickel, and a current
Uncirculated George Washington onedollar note with a Virginia Federal
Reserve bank seal.
FRANKLIN D.
ROOSEVELT Gold ($5.00)
The design for the obverse of the FDR
Gold $5 Coin, by U.S. Mint
Sculptor/Engraver T. James Ferrell, is
based on one of President Roosevelt’s
favorite photographs: a portrait of the
commander-in-chief reviewing the U.S.
fleet in San Francisco Bay. The reverse
design, by U.S. Mint Graphic Designer
James Peed, bears a rendering of the
presidential seal as displayed at FDR’s
1933 inauguration.
Legislation
sponsored
by
Representative Norman Y. Mineta (DCA) and signed into law on October 20,
1996, by President Clinton as part of P.L.
104-329 authorizes the Mint to produce no
more than 100,000 of the FDR
Commemorative gold coin.
LAW ENFORCEMENT
OFFICERS MEMORIAL
Silver ($1.00)
Established in 1792, the U.S. Mint
Police are one of the older law
enforcement agencies in the nation.
Having set the standard “as secure as Fort
Knox,” U.S. Mint police officers continue
to meet that standard every day protecting
over 2,000 Mint employees, hundreds of
thousands of yearly visitors, and $100
billion of America’s gold, silver,
platinum, and coins.
The nearly 500 U.S. Mint police
officers protect Fort Knox, the four U.S.
Mint production facilities in West Point,
NY; Philadelphia, PA; Denver, CO; San
Francisco, CA; Lanham, MD, and the
headquarters in Washington, D.C., and
provide protection advice and assistance
to other federal law enforcement agencies
and foreign governments.
Legislation authorizing the National
Law Enforcement Officers Memorial to be
built was enacted into law in October
1984. The memorial was dedicated on
October 15, 1991, and its mission is to
generate increased public support for the
law
enforcement
profession
by
permanently recording and appropriately
commemorating the service and sacrifice
of law enforcement officers and to
provide information that will help
promote law enforcement safety.
JACKIE ROBINSON Silver
($1.00) Gold ($5.00)
One hundred thousand gold coins are
being struck at the West Point Mint, and
200,000 silver dollars at the San
Francisco Mint. A portion of the proceeds
from sales of the coins will benefit the
Jackie Robinson Foundation, which
supports educational and leadership
programs to encourage, train, and motivate
minority youth.
The obverse of the silver dollar coin,
by Mint Sculptor Al Maletsky, depicts
Robinson stealing home plate, as he did
during a 1955 World Series game
between the New York Yankees and the
Brooklyn Dodgers. The silver reverse, by
Mint Sculptor/Engraver T. James Ferrell,
features the 50th anniversary logo of the
Jackie Robinson Foundation, surrounded
by inscriptions highlighting two of
Robinson’s achievements: “Rookie of the
Year 1947,” and “Hall of Fame 1962.” An
identical commemorative patch was worn
by all Major League Baseball players
during the 1997 season.
The obverse of the gold $5 coin, by
Mint Sculptor/Engraver William Cousins,
depicts Robinson in his later years as a
civil rights leader and political activist.
The reverse, by Mint Graphic Designer
Jim Peed, is a baseball design with the
years of Robinson’s life, 1919–1972, and
the inscription “Legacy of Courage” in the
center.
THE BLACK
REVOLUTIONARY WAR
PATRIOTS Silver ($1.00)
According to law, the U.S. Mint is
authorized to produce up to 500,000 silver
dollars
to
commemorate
Black
Revolutionary Patriots and the 275th
anniversary of the birth of Crispus
Attucks. A portion of the proceeds from
sales of the coins will support the
construction of the Black Patriots
Memorial on the National Mall in
Washington, D.C. near the Lincoln
Memorial and the Vietnam Veterans
Memorial.
The obverse of the silver dollar,
designed by Mint Sculptor/Engraver John
Mercanti, is a portrait of Crispus Attucks,
the first patriot killed in the infamous
Boston Massacre in 1770, the event that
many historians believe triggered the
Revolutionary War.
The reverse design, by Ed Dwight,
depicting a black patriot family, is also
the design of the sculpture for the Black
Patriots Memorial, honoring not only the
black soldiers who fought for freedom, but
also the families who supported them.
Dwight, the first African American to be
trained as an astronaut, has created more
than 55 monuments and memorials to
honor notable African Americans, and his
art appears in private collections, in
major museums, and at the Smithsonian
Institution.
ROBERT F. KENNEDY
Silver ($1.00)
The portrait of Robert F. Kennedy on
the coin’s obverse is one of the most
realistic ever. The sculptor/engraver
worked with Kennedy’s widow, Ethel,
who instructed the artist on her late
husband’s features. The reverse shows the
seal of the Department of Justice, where
Kennedy worked as attorney general to
advance civil rights for all Americans,
and the seal of the United States Senate,
where he was serving when he was
assassinated.
Thomas D. Rogers, who designed the
coin’s obverse, wanted the coin to reflect
Kennedy’s compassion and character, as
well his intensity and thoughtful concern.
In addition to sculpting the plaster
sculpture used for the obverse, Rogers
sculpted the plaster for the intricate design
on the reverse.
Rogers designed and sculpted the
reverses of the Columbus Quincentenary
silver dollar and gold five dollar; the
obverse and reverse of the World War II
Military silver dollar, Vietnam Veterans,
Special Olympics, and 1996 Olympic
silver dollars. He designed and sculpted
the obverses of the Smithsonian and
Community Service commemorative
silver dollars as well as the reverse of the
Franklin D. Roosevelt gold five dollar.
James Peed sketched the reverse of this
coin as a collage of the United States
Senate seal with the United States
Attorney General’s seal. Peed has been
credited with the original concept for the
obverse of the 1984 Olympic gold ten
dollar, designed and sculpted the 1992
Olympic gold five dollar reverse and the
Jackie Robinson gold five dollar reverse,
and won a national competition for the
1986 Vietnam Veterans Medal reverse.
GEORGE WASHINGTON
Gold ($5.00)
“Officially, this coin commemorates the
200th anniversary of our first president’s
death,” said U.S. Mint Director Philip N.
Diehl. “But to my mind it also
commemorates what has survived of his
life and the life of our republic for two
centuries, and ensures that this place will
remain for all time ready to receive
everyone who comes here.”
The
George
Washington
Commemorative $5 coin marks the
inaugural striking of Laura Gardin
Fraser’s award-winning design, one of the
most popular designs submitted in the
1931 design competition for a special new
quarter dollar commemorating the birth of
George Washington. Fraser’s stunning
portrait is modeled on the famed life-mask
bust of Washington by noted French
sculptor Jean Antoine Houdon. Fraser’s
reverse design depicts a powerful bald
eagle
with
exquisitely
detailed
overlapping planes of rough feathers.
A portion of the proceeds from sales of
the coin are authorized to be used by the
Mount Vernon Ladies’ Association for
preservation of George Washington’s
Mount Vernon and to educate the
American people about this great man and
his incomparable gifts to his nation.
YELLOWSTONE
NATIONAL PARK Silver
($1.00)
“We are honored to be part of a
program promoting the conservation and
preservation of our nation’s most precious
national treasures, the natural wonders
and wilderness of Yellowstone and
America’s other national parks,” said U.S.
Mint Associate Director for Numismatics
David Pickens. Pickens was joined by
Michael Finley, superintendent of
Yellowstone National Park, and Jim
Maddy, president of the National Park
Foundation, at the Interior Museum of the
Department of the Interior for the official
launch of the program.
The obverse design, by Mint
Sculptor/Engraver Edgar Z. Steever,
depicts one of Yellowstone Park’s famous
geysers with the park’s tree-lined
landscape in the background. The reverse,
by Mint Sculptor/Engraver William C.
Cousins, portrays an American buffalo on
the plains with a brilliant sun rising above
the mountains in the background and is
intended to be reminiscent of the seal of
the Department of the Interior.
In 1872, Ulysses S. Grant signed
Yellowstone Park into law, inaugurating
the beginning of the nation’s National Park
System. Yellowstone is now recognized
around the world as a universal symbol of
American conservation, wilderness, and
natural beauty. A portion of the proceeds
from the sales of each coin are authorized
to help support Yellowstone National
Park, as well as other national parks
through the National Park Foundation.
With a maximum mintage of 500,000
coins, both the Uncirculated and Proof
versions of the Yellowstone National Park
silver dollar have been minted at the
Philadelphia Mint and bear the P mint
mark.
DOLLEY MADISON Silver
($1.00)
As first lady during her husband’s two
presidential terms, and serving as hostess
during the first Jefferson administration,
Dolley Madison brought competing
factions together in a social setting, using
her natural diplomatic talents to ease
political tensions and pave the way for
civil debate in the young republic. She is
credited with defining the role of first lady
by establishing a style of ceremonial
etiquette that did not yet exist. In addition,
the first lady of the nation’s fourth
president,
James
Madison,
was
instrumental in organizing the rescue of
important government papers, including
Gilbert Stuart’s portrait of George
Washington, as the British burned the
capital in 1814.
The obverse side of the coin carries a
portrait of the young Dolley Madison,
with her image framed by her favorite
Cape Jasmine flowers and the Ice House
Temple, which still stands on the grounds
of her home at Montpelier today. The
reverse side of the coin depicts a pastoral
perspective of the mansion at Montpelier.
LIBRARY OF CONGRESS
Silver ($1.00)
Bimetallic ($10.00)
These two commemorative coins are
considered to be “The Coins of Many
Firsts” because they represent the first
gold and platinum bimetallic coin struck
by the U.S. Mint, the first U.S. Mint
commemorative coins of this century and
millennium, and the first U.S. Mint
Commemorative Coins honoring a library.
The commemorative silver dollar’s
obverse,
designed
by
Mint
Engraver/Sculptor Thomas D. Rogers, Sr.,
is an open book superimposed over the
torch of learning, which personifies the
vast knowledge provided by the Library.
The reverse, designed by Mint
Engraver/Sculptor John Mercanti, is an
architectural rendering of the dome on the
Library’s Jefferson Building.
The stunning Library of Congress
commemorative bimetallic coin contains
precious metal combining an inner core of
platinum encircled by an outer ring of
gold. The outer ring is stamped from a
sheet of gold, and then a solid core of
platinum is placed within the ring. The
gold ring and platinum core is then
simultaneously coined forming an annular
bead where the two precious metals meet.
The bimetallic coin’s obverse,
designed by Mint Engraver/Sculptor John
Mercanti, features the hand of Minerva
raising the torch of learning over the dome
of the magnificent Jefferson Building. The
coin’s reverse, designed by Mint
Engraver/Sculptor Thomas D. Rogers, Sr.,
contains the logo of the Library of
Congress encircled by a laurel wreath.
The Library of Congress, founded in
1800, comprises the world’s most
comprehensive
record
of human
creativity. Its three massive structures, the
Jefferson, Adams, and Madison Buildings,
contain nearly 119 million items on
approximately 530 miles of bookshelves.
The collection includes more than 18
million cataloged books, 2 million
recordings, 12 million photographs, 4
million maps, and 53 million manuscripts.
President Thomas Jefferson played a
pivotal role in the Mint’s and the
Library’s
development.
Jefferson
proposed the decimal coinage system we
use today and was a leading advocate for
founding a national mint on American soil.
An avid learner and lifelong collector of
books, Jefferson sold his personal library
of 6,487 books to Congress for $23,950
after the British burned the new Capitol
and Library in 1814.
LEIF ERICSON
MILLENNIUM Silver ($1.00)
“This jointly issued coin set
magnificently symbolizes a shared history
and friendship with the Republic of
Iceland that dates back through the last
millennium,” said U.S. Mint Director Jay
W. Johnson. “What a beautiful way to
celebrate the 1,000 years since the
discovery of the New World by Leif
Ericson, by issuing a first of its kind
U.S./foreign commemorative coin set.”
“The Leif Ericson commemorative coin is
really the perfect millennium collectible,”
said David Pickens, associate director for
numismatics, “commemorating a 1,000year anniversary in the year 2000.”
The two beautifully detailed coins,
designed respectively by the United States
and the Republic of Iceland, are minted by
the United States Mint. Both coins are
legal tender and are struck from 26.73
grams of 90 percent silver. The United
States Proof silver and Uncirculated
silver coins display a heroic portrait of
the intrepid explorer, Leif Ericson, on the
obverse,
designed
by
Mint
Engraver/Sculptor John Mercanti, and a
depiction of his Viking ship under full sail
on the reverse, designed by Mint
Engraver/Sculptor James Ferrell.
The Icelandic Proof silver coin’s
obverse features an image of Stirling
Calder’s famous sculpture of Leif Ericson,
presented to Iceland by the United States
in 1930. The reverse of the coin depicts
the eagle, the dragon, the bull, and the
giant from the Icelandic Coat of Arms.
The designer of the coin is Icelandic artist
Throstur Magnusson.
AMERICAN BUFFALO
Silver ($1.00)
The American Buffalo commemorative
silver dollar recreates James Earle
Fraser’s famous Buffalo nickel design that
circulated from 1913 to 1938. The
obverse depicts a profile of a Native
American. The reverse features an
American buffalo—an important symbol
for many Native Americans.
The American Buffalo commemorative
coin is available as a Proof silver dollar
coin, as an Uncirculated silver dollar
coin, as a two-coin set, or in the American
Buffalo Coinage & Currency Set. The
Proof coins will bear the Philadelphia
mint mark; the Uncirculated coins will
feature the Denver mint mark.
THE U.S. CAPITOL
VISITOR CENTER Clad
(50¢) Silver ($1.00) Gold
($5.00)
Celebrate the first meeting of Congress
in the U.S. Capitol and be part of history
in the making by helping build the first
ever Visitor Center for the U.S. Capitol.
Congress
has
authorized
three
commemorative coins to celebrate the
bicentennial of the first meeting of
Congress at the U.S. Capitol building in
Washington, D.C. A portion of the
proceeds from the sale of each coin—$35
for gold, $10 for silver, $3 for clad—is
authorized to be paid to the Capitol
Preservation Fund for the purpose of
aiding the construction, maintenance, and
preservation of a new Capitol Visitor
Center. The Visitor Center will offer
modern facilities, free educational
movies, and exhibits and will eliminate
long waits outside.
The gold $5 coin is the design of
Elizabeth Jones, the only woman to hold
the position of U.S. Mint chief
sculptor/engraver. The obverse of this
coin includes an intricate carving of a
single Corinthian column, the type found
on the Capitol building. The coin’s
reverse is adorned with an image of the
original structure, beautifully portraying
the edifice where the first congressional
session was held in the U.S. Capitol.
The silver dollar obverse is a creation
of artist Marika Somogy. The obverse
portrays the original U.S. Capitol
superimposed on the image of today’s
Capitol building. The contrasting images
illustrate how we have grown as a nation.
The reverse is the design of Mint
Sculptor/Engraver John Mercanti and
portrays a bald eagle cloaked in a banner
inscribed “U.S. Capitol Visitor Center.”
Dean McMullen designed the clad halfdollar obverse. It features the original
U.S. Capitol building within an outline of
the present day Capitol. The reverse is a
combination of designs by artists Marcel
Jovine and Alex Shagin. It portrays 16
stars and the inscription “32 SENATORS;
106 HOUSE MEMBERS.” The stars
represent the number of states and the
inscription reflects the number of
members in the 6th Congress—the first
Congress to meet in the new Capitol in
1800.
2002 OLYMPIC WINTER
GAMES Silver ($1.00) Gold
($5.00)
The world’s greatest athletes gather
every four years to test their skills and
determination. They have trained for a
lifetime—untold hours of struggle, pain,
frustration, and disappointment endured
for the hope of one glorious moment. The
Olympics have never been about sport
alone; they are a showcase for the greatest
qualities of the human spirit—courage,
sacrifice,
perseverance,
and
determination. The Olympics tell the story
of the dignity of mankind.
In February of 2002, the world gathered
in Salt Lake City to celebrate the power of
the human spirit—the forum, the Olympic
Winter Games. For seventeen days the
world was once again united in heartstopping competition and joyous
celebration. Stories of hope, optimism,
and inspiration were etched into the hearts
of men and women and history books.
The Olympics and the human spirit they
exhibit inspire every man, woman, and
child to strive for greatness. They “Light
the Fire Within” us all. These great traits
that, once kindled, spread throughout the
world create a better place for all
humanity.
As a testament to the courage of the
human spirit, and as a world symbol of
peace, the message of the Olympics
endures. The Olympic Winter Games of
2002 continued this legacy.
ABOUT THE COINS
Authorized by Congress under Public
Law 106-435, the U.S. Mint issued two
commemorative coins to support the 2002
Salt Lake Olympic Winter Games. A
portion of the proceeds from the sale of
each coin—$35 for gold and $10 for
silver—was authorized to help support the
2002 Salt Lake Olympic Winter Games.
The gold $5 is the design of U.S. Mint
Sculptor/Engraver Donna Weaver. The
obverse of this coin features the 2002 Salt
Lake Olympic Winter Games Crystal
Emblem superimposed on top of the
Games’ secondary identity mark entitled:
“Rhythm of the Land.” The reverse
portrays the Olympic flame in relief atop a
cauldron.
The silver dollar obverse is the design
of U.S. Mint Sculptor/Engraver John
Mercanti. It features the Crystal Emblem
of the 2002 Olympic Winter Games,
Olympic Rings, and the Games’ secondary
identity mark entitled: “Rhythm of the
Land.” The designer of the reverse is U.S.
Mint Sculptor/Engraver Donna Weaver. It
portrays the Salt Lake City skyline with
the Rocky Mountains in the background.
GOLD AND SILVER
BULLION COINS
PLEASE NOTE: THE PRICES THAT
ARE LISTED REFLECT A GOLD SPOT
PRICE OF $1525.00 PER OUNCE AND
A SILVER SPOT PRICE OF $28.00 PER
OUNCE.
AMERICAN EAGLE
BULLION GOLD
The American Eagle bullion coins are
minted in $5: weight 52.4 grains, contains
one-tenth ounce pure gold; $10: weight
130.9 grains, contains one-quarter ounce
pure gold; $25: weight 261.8 grains,
contains one-half ounce pure gold; $50:
weight 523.6 grains, contains 1 ounce
pure gold. The obverse design is similar
to the St. Gaudens $20 gold piece, 1907–
1933 design. The coin date appears in
Roman numerals. The reverse shows a
group of American eagles.
AMERICAN SILVER
DOLLAR EAGLE BULLION
The American Silver Dollar Eagle
bullion coin is minted in 99.93 fine silver;
weight, 479.9 grains; contains 1 ounce
pure silver. The obverse design was taken
from the famous Walking Liberty halfdollar coin. The reverse shows an
American eagle with breasted shield.
COMMEMORATIVE
MEDALS
NORTH AMERICAN
CENTENNIAL
SO-CALLED WILSON
DOLLAR
2 KRONER, SWEDEN
U.S. PROOF SETS, 1936 TO
DATE
The technical definition of a proof is a
coin made for presentation or collector
purposes. Beginning in the second half of
the 19th century, the Mint struck proofs of
many of its coins; some, but not a great
number, appeared previously. A proof is
not made from a specially manufactured
die but rather an ordinary die set aside
exclusively for use in proofs. The dies are
cleaned and polished more frequently than
those used for ordinary circulating coins.
When any sign of wear or imperfection
appears, the die is scrapped. This is why
proofs have a somewhat higher surface
relief (bas-relief) than uncirculated
specimens, leading to the conclusion—
mistakenly—that more deeply engraved
dies are employed. After coming from the
press, proofs are not touched except with
gloves or special tongs made for the
purpose, and are inspected for uniformity.
Any exhibiting flaws of any nature are
rejected. Proofs that pass inspection are
housed in holders, so that nothing may
interfere with their finish.
Frosted proofs were not produced for
forty years (from 1936 until 1978), when
selected issues started once again to be
produced. These have a lustrous shining
ground but the design and lettering are
nonreflective or frosted. So-called matte
proofs have a granular finish. These, too,
are a thing of the past. Brilliant proofs,
those struck from 1936 to date, are
mirrorlike over the entire surface, not only
the ground but also design and lettering. It
is well to keep in mind (for beginners)
that a coin found in circulation is never a
proof, regardless of the brilliance of its
luster or perfection of its condition. It is
simply a “prooflike” coin.
Proof sets have been struck by the Mint
since 1936, though none were issued in
the years 1943–49. Beginning in 1968 they
were issued in stiff plastic holders rather
than pliable vinyl. Proof sets are now
struck only at the San Francisco Mint and
all coins carry the “S” mint mark. Note:
Prestige and Premier sets contain
commemorative coins.
Note: Some mintage totals for Proof Sets
represent estimates based upon best
available information.
U.S. MINT SETS, 1947 TO
DATE
Beginning collectors habitually confuse
the terms “proof set” and “mint set.” It is
important to recognize the distinction
between them, especially as the values are
quite different. The buyer who thinks he
has a bargain on a proof set, when in fact
he has bought a mint set, may have paid
too much.
Mint sets originated well after the
selling of special proof sets had become
established. Manufacture of proof sets
was suspended during World War II.
Following conclusion of the war (1945),
the Mint chose not to immediately resume
proof sets, but instead to sell mint sets as
a substitute. They were introduced in
1947, sold well, and continued to be
produced after proof sets were reinstated
in 1950.
Mint sets contain the same coins as
proof sets (one of each denomination,
from each Mint, for that year), but the
coins are not proofs. They are standard
“business strikes,” just like coins released
into general circulation. Naturally they are
uncirculated, as the Mint takes specimens
from its assembly lines that have not gone
into circulation. In terms of specific grade,
this is really a matter of luck. Some coins
in mint sets are flawless and merit a full
MS-70 rating. The vast majority are not
quite so fine, and would grade between
MS-60 and MS-65. In buying a mint set
from a dealer, you can be certain that all
the coins will be uncirculated, but a
condition grade higher than MS-60 should
not be anticipated for any of them. In
offering mint sets, dealers do not mention
condition grade, as it can vary from coin
to coin within a set.
To carry the values indicated, sets must
be in the original sealed holders in which
they were sold. In the years 1965, 1966,
and 1967, when no proof sets were struck,
mint sets were placed in rigid plastic
holders and called “Special Mint Sets,” in
hopes they would appeal to the regular
buyers of proof sets. The standard
packaging for mint sets was originally a
cardboard holder, which was abandoned
in favor of plastic envelopes in 1959.
Mintage figures are not recorded for
mint sets, as the coins involved are not
specially produced for that purpose.
BU ROLLS
BU rolls are now among the most talked
about and heavily traded of all numismatic
items. The total quantity of coins sold in
rolls far exceeds all other coin sales
combined. They have become the favorite
numismatic investment among thousands
of investors. To a lesser extent they are
also bought by collectors, though sales to
collectors have not appreciably increased.
What is a BU roll? The term BU, which
has been used in coin collecting for more
than two generations, stands for Brilliant
Uncirculated. Some define it as Best
Uncirculated or Bright Uncirculated.
Regardless of the way one interprets it,
the important point about a BU coin is that
it is uncirculated. Its condition grade is a
minimum of MS-60 on the ANA grading
scale. It may be higher than MS-60 but in
buying rolls advertised only as BU, with
no grade specified, do not expect any of
the coins to grade higher than MS-60. It is
possible to get BU rolls in MS-63 and
MS-65 but, of course, the price is higher.
A roll comprises coins of the same
denomination and, almost always, the
same type. If Indian Head and Lincoln
cents were mixed in the same roll, this
would be advertised as a “mixed roll.”
Most BU roll trading occurs in solid date
rolls. A solid date roll is one in which all
the coins are of the same date and same
place of manufacture: 1946D, 1948S,
1982P, etc. The number of coins in a roll
varies by denomination: cents, fifty coins;
nickels, forty; dimes, fifty; quarters, forty;
half dollars, twenty. The roll may be
wrapped in bank paper or contained in a
lucite holder.
All rolls passing through the coin
market are “assembled rolls.” They were
not put together at the Mint but by coin
dealers, collectors, and investors. The
possibility always exists that a circulated
coin might have slipped in, so it is
advisable to examine all the coins in a
roll.
Because new rolls are constantly being
made up and old ones broken, the scarcity
factor is difficult to determine. While the
vast majority of BU rolls are of 20th-
century coins, they are also available for
most of the common-date coins of the late
19th century as well. Generally they are
not available for scarce coins of the 19th
century, nor even for some scarce dates of
the 20th. If the coin is very common, with
a mintage of 100 million or more, there
will be literally thousands of BU rolls
passing through the market. It may seem
paradoxical, but the common coins are
often preferred by investors, who feel that
their low prices make them an ideal
speculation. Some rolls can be had for
less than $1, such as late-date Lincolns,
and these too are bought by investors. At
the other end of the spectrum are rolls
bringing $3,600 or more, such as the
1941S Walking Liberty half dollar. Rolls,
like single coins, come in all price ranges.
It is important to note that the price of a
BU roll does not necessarily reflect the
value of the same coin when sold singly.
You cannot multiply the single coin price
to arrive at the roll price. BU rolls find
their own value levels in trading, and the
price can sometimes be quite far out of
line with that of the individual coin. There
are various reasons for this, chiefly tied to
supply and demand. At any given time
there may be a huge surplus of certain BU
rolls on the market, or such an extreme
shortage that dealers cannot buy them fast
enough to fill orders. The availability of
any coin in BU rolls may be a very
different story than its availability as a
single specimen. Also, investors will
frequently “bandwagon” a group of coins
in BU rolls, all buying the same rolls.
They do not buy the single specimens, so
the shortage of supply is not reflected in
single specimens. This is becoming more
pronounced in today’s coin market, now
that BU rolls have become so popular
with investors. Of course, the dealers also
influence the prices. When a dealer is
buying common to medium-scarce coins
for his stock, he prefers to buy in rolls,
regardless of whether he intends to sell
the coins in rolls or individually. It is
more convenient for him and, in many
cases, more economical.
The following prices for BU rolls were
current at the time of going to press.
Lincoln Cents
1934
$260.00
1934D
$775.00
1935
$220.00
1935D
$200.00
1935S
$700.00
1936
$225.00
1936D
$140.00
1936S
$225.00
1937
$100.00
1937D
$110.00
1937S
$110.00
1938
$150.00
1938D
$250.00
1938S
$150.00
1939
$80.00
1939D
$125.00
1939S
$110.00
1940
$110.00
1940D
$110.00
1940S
$110.00
1941
$55.00
1941D
$115.00
1941S
$115.00
1942
$30.00
1942D
$30.00
1942S
$500.00
1943
$55.00
1943D
$100.00
1943S
$200.00
1944
$30.00
1944D
$30.00
1944S
$30.00
1945
$30.00
1945D
$30.00
1945S
$20.00
1946
$20.00
1946D
$20.00
1946S
$20.00
1947
$48.00
1947D
$20.00
1947S
$20.00
1948
$25.00
1948D
$25.00
1948S
$25.00
1949
$45.00
1949D
$25.00
1949S
$45.00
1950
$35.00
1950D
$35.00
1950S
$35.00
1951
$30.00
1951D
$15.00
1951S
$20.00
1952
$30.00
1952D
$20.00
1952S
$50.00
1953
$16.00
1953D
$16.00
1953S
$16.00
1954
$10.00
1954D
$10.00
1954S
$10.00
1955
$10.00
1955D
$10.00
1955S
$16.00
1956
$8.00
1956D
$8.00
1957
$8.00
1957D
$8.00
1958
$8.00
1958D
$8.00
1959
$4.00
1959D
$4.00
1960
$1.35.35
1960D
$1.35.35
1960 small date
$175.00
1960D small date
$65.00
1961
$2.00
1961D
$2.00
1962
$1.75.75
1962D
$2.25
1963
$2.25
1963D
$2.25
1964
$1.50.50
1964D
$2.00
1965
$5.00
1966
$5.00
1967
$5.00
1968
$5.00
1968D
$4.00
1968S
$4.00
1969
$6.00
1969D
$3.00
1969S
$2.25
1970
$2.25
1970D
$2.25
1970S
$2.25
1971
$3.50
1971D
$3.50
1971S
$3.50
1972
$3.50
1972D
$2.50
1972S
$2.35
1973
$3.00
1973D
$3.00
1973S
$3.00
1974
$3.00
1974D
$3.00
1974S
$3.00
1975
$2.00
1975D
$2.00
1976
$2.00
1976D
$3.00
1977
$2.00
1977D
$2.00
1978
$1.75.75
1978D
$1.65.65
1979
$2.00
1979D
$2.35
1980
$2.35
1980D
$2.35
1981
$2.35
1981D
$2.35
1982
$4.00
1982D
$2.50
1982 small date (zinc)
$25.00
1982 large date (zinc)
$12.00
1983
$2.25
1983D
$2.25
1984
$5.00
1984D
$16.00
1985
$8.00
1985D
$8.00
1986
$18.00
1986D
$5.00
1987
$5.00
1987D
$5.00
1988
$5.00
1988D
$2.25
1989
$2.25
1989D
$1.80
1990
$1.80
1990D
$1.80
1991
$1.55
1991D
$1.75
1992
$1.80
1992D
$1.80
1993
$1.80
1993D
$1.80
1994
$1.80
1994D
$1.80
1995
$1.80
1995D
$1.80
1996
$1.80
1996D
$1.80
1997
$1.80
1997D
$1.50
1998
$1.50
1998D
$1.50
1999
$1.50
1999D
$1.50
2000
$1.40
2000D
$1.40
2001
$1.40
2001D
$1.40
2002
$1.40
2002D
$1.40
2003
.85
2003D
.85
2004
.85
2004D
.85
2005
.70
2005D
.70
2006
.70
2006D
.70
2007
.60
2007D
.60
2008
.60
2008D
.60
2009
.60
2009D
.60
2010
.60
2010D
.60
Buffalo Nickels
1934
$2750.00
1934D
$2800.00
1935
$1600.00
1935D
$2200.00
1935S
$1500.00
1936
$1200.00
1936D
$1400.00
1936S
$1400.00
1937
$700.00
1937D
$850.00
1937S
$850.00
Jefferson Nickels
1938
$220.00
1938D
$235.00
1938S
$235.00
1939
$100.00
1939D
$1850.00
1939S
$850.00
1940
$100.00
1940D
$85.00
1940S
$125.00
1941
$85.00
1941D
$85.00
1941S
$80.00
1942
$175.00
1942D
$450.00
1942S
$150.00
1943
$150.00
1943D
$165.00
1943S
$160.00
1944
$175.00
1944D
$225.00
1944S
$175.00
1945
$175.00
1945D
$120.00
1945S
$135.00
1946
$45.00
1946D
$45.00
1946S
$18.00
1947
$25.00
1947D
$35.00
1947S
$25.00
1948
$18.00
1948D
$36.00
1948S
$32.00
1949
$80.00
1949D
$26.00
1949S
$50.00
1950
$50.00
1950D
$265.00
1951
$38.00
1951D
$75.00
1951S
$50.00
1952
$40.00
1952D
$60.00
1952S
$30.00
1953
$20.00
1953D
$20.00
1953S
$20.00
1954
$20.00
1954D
$9.00
1954S
$9.00
1955
$9.00
1955D
$9.00
1956
$6.50
1956D
$6.50
1957
$6.50
1957D
$6.50
1958
$6.00
1958D
$6.00
1959
$6.00
1959D
$6.00
1960
$6.00
1960D
$6.00
1961
$4.25
1961D
$4.25
1962
$4.25
1962D
$4.25
1963
$4.00
1963D
$4.00
1964
$4.00
1964D
$4.00
1965
$4.00
1966
$5.00
1967
$5.00
1968 D
$5.00
1968 S
$5.00
1969D
$5.00
1969S
$5.00
1970D
$5.00
1970S
$5.00
1971
$18.00
1971D
$5.00
1972
$5.00
1972D
$5.00
1973
$5.00
1973D
$5.00
1974
$5.00
1974D
$5.25
1975
$5.25
1975D
$5.25
1976
$20.00
1976D
$20.00
1977
$5.00
1977D
$14.00
1978
$5.50
1978D
$5.50
1979
$5.50
1979D
$5.50
1980
$5.50
1980D
$5.50
1981
$5.50
1981D
$5.50
1982
$26.00
1982D
$35.00
1983
$60.00
1983D
$28.00
1984
$15.00
1984D
$6.50
1985
$6.50
1985D
$6.50
1986
$5.20
1986D
$5.20
1987
$5.20
1987D
$5.20
1988
$4.00
1988D
$4.00
1989
$4.00
1989D
$4.00
1990
$4.00
1990D
$4.00
1991
$4.00
1991D
$4.00
1992
$4.00
1992D
$4.00
1993
$3.00
1993D
$3.00
1994
$3.00
1994D
$3.00
1995
$3.00
1995D
$3.00
1996
$3.00
1996D
$3.00
1997
$2.50
1997D
$2.50
1998
$2.50
1998D
$2.35
1999
$2.35
1999D
$2.35
2000
$2.35
2000D
$2.35
2001
$2.35
2001D
$2.35
2002
$2.25
2002D
$2.25
2003
$2.25
2003D
$2.25
2004
$2.25
2004D
$2.25
2005
$2.25
2005d
$2.25
2006
$2.25
2006D
$2.25
2007
$2.25
2007D
$2.25
2008
$2.25
2008D
$2.25
2009
$2.10
2009D
$2.10
2010
$2.10
2010D
$2.10
Mercury Dimes
1934
$1500.00
1934D
$1800.00
1935
$1000.00
1935D
$1800.00
1935S
$1200.00
1936
$800.00
1936D
$2000.00
1936S
$1750.00
1937
$725.00
1937D
$1500.00
1937S
$1500.00
1938
$1500.00
1938D
$800.00
1938S
$1275.00
1939
$1275.00
1939D
$600.00
1939S
$1200.00
1940
$600.00
1940D
$525.00
1940S
$625.00
1941
$325.00
1941D
$325.00
1941S
$450.00
1942
$350.00
1942D
$425.00
1942S
$525.00
1943
$350.00
1943D
$425.00
1943S
$550.00
1944
$325.00
1944D
$300.00
1944S
$375.00
1945
$375.00
1945D
$375.00
1945S
$375.00
Roosevelt Dimes
1946
$200.00
1946D
$200.00
1946S
$200.00
1947
$220.00
1947D
$220.00
1947S
$220.00
1948
$200.00
1948D
$200.00
1948S
$200.00
1949
$975.00
1949D
$300.00
1949S
$800.00
1950
$200.00
1950D
$200.00
1950S
$525.00
1951
$210.00
1951D
$210.00
1951S
$300.00
1952
$200.00
1952D
$200.00
1952S
$160.00
1953
$210.00
1953D
$210.00
1953S
$210.00
1954
$200.00
1954D
$200.00
1954S
$200.00
1955
$200.00
1955D
$200.00
1955S
$200.00
1956
$200.00
1956D
$200.00
1957
$200.00
1957D
$200.00
1958
$200.00
1958D
$200.00
1959
$200.00
1959D
$200.00
1960
$200.00
1960D
$200.00
1961
$200.00
1961D
$200.00
1962
$200.00
1962D
$200.00
1963
$200.00
1963D
$200.00
1964
$200.00
1964D
$200.00
1965
$12.00
1965D
$14.00
1966
$14.00
1967
$12.00
1968
$12.00
1968D
$12.00
1969
$35.00
1969D
$12.00
1970
$12.00
1970D
$10.00
1971
$12.50
1971D
$12.00
1972
$12.00
1972D
$12.00
1973
$12.00
1973D
$12.00
1974
$12.00
1974D
$12.00
1975
$12.00
1975D
$12.00
1976
$12.00
1976D
$12.00
1977
$12.00
1977D
$12.00
1978
$12.00
1978D
$12.00
1979
$12.00
1979D
$12.00
1980
$12.00
1980D
$10.00
1981
$15.00
1981D
$15.00
1982
$50.00
1982D
$15.00
1983
$25.00
1983D
$20.00
1984
$15.00
1984D
$12.00
1985
$12.00
1985D
$12.00
1986
$12.00
1986D
$12.00
1987
$10.00
1987D
$10.00
1988
$10.00
1988D
$10.00
1989
$10.00
1989D
$10.00
1990
$10.00
1990D
$10.00
1991
$10.00
1991D
$20.00
1992
$8.00
1992D
$8.00
1993
$8.00
1993D
$8.00
1994
$8.00
1994D
$8.00
1995
$8.00
1995D
$8.00
1996
$8.00
1996D
$8.00
1997
$8.00
1997D
$8.00
1998
$7.00
1998D
$7.00
1999
$7.00
1999D
$7.00
2000
$7.00
2000D
$7.00
2001
$7.00
2001D
$7.00
2002
$6.00
2002D
$6.00
2003
$5.35
2003D
$5.35
2004
$5.50
2004D
$5.50
2005
$5.25
2005D
$5.25
2006
$5.25
2006D
$5.25
2007
$5.25
2007D
$5.25
2008
$5.25
2008
$5.25
2009
$5.15
2009D
$5.15
2010
$5.15
2010D
$5.15
Washington Quarters
1934
$1800.00
1934D
$6500.00
1935
$1200.00
1935D
$7500.00
1935S
$3750.00
1936
$1600.00
1936S
$4500.00
1937
$1200.00
1937D
$4000.00
1937S
$4500.00
1938
$3400.00
1938S
$3400.00
1939
$1000.00
1939D
$1200.00
1939S
$3250.00
1940
$1000.00
1940D
$4000.00
1940S
$850.00
1941
$750.00
1941D
$2000.00
1941S
$1600.00
1942
$400.00
1942D
$750.00
1942S
$2000.00
1943
$340.00
1943D
$1500.00
1943S
$1500.00
1944
$285.00
1944D
$525.00
1944S
$800.00
1945
$800.00
1945D
$800.00
1945S
$425.00
1946
$350.00
1946D
$350.00
1946S
$350.00
1947
$400.00
1947D
$550.00
1947S
$550.00
1948
$350.00
1948D
$350.00
1948S
$275.00
1949
$1800.00
1949D
$775.00
1950
$250.00
1950D
$250.00
1950S
$375.00
1951
$225.00
1951D
$175.00
1951S
$800.00
1952
$235.00
1952D
$235.00
1952S
$750.00
1953
$250.00
1953D
$250.00
1953S
$250.00
1954
$250.00
1954D
$250.00
1954S
$250.00
1955
$225.00
1955D
$225.00
1956
$350.00
1956D
$200.00
1957
$210.00
1957D
$210.00
1958
$225.00
1958D
$225.00
1959
$225.00
1959D
$225.00
1960
$225.00
1960D
$225.00
1961
$225.00
1961D
$200.00
1962
$200.00
1962D
$200.00
1963
$200.00
1963D
$200.00
1964
$200.00
1964D
$200.00
1965
$35.00
1965D
$35.00
1966
$35.00
1967
$35.00
1968
$35.00
1968D
$35.00
1969
$35.00
1969D
$35.00
1970
$35.00
1970D
$35.00
1971
$35.00
1971D
$35.00
1972
$35.00
1972D
$35.00
1973
$35.00
1973D
$26.00
1974
$26.00
1974D
$26.00
1976
$26.00
1976S 40% silver
$80.00
1976S 40% proof silver
$85.00
1976D
$30.00
1977
$30.00
1977D
$30.00
1978
$30.00
1978D
$25.00
1979
$25.00
1979D
$25.00
1980
$25.00
1980D
$25.00
1981
$25.00
1981D
$25.00
1982
$140.00
1982D
$30.00
1983
$210.00
1983D
$165.00
1984
$35.00
1984D
$35.00
1985
$35.00
1985D
$85.00
1986
$160.00
1986D
$160.00
1987
$25.00
1987D
$25.00
1988
$26.00
1988D
$25.00
1989
$25.00
1989D
$25.00
1990
$25.00
1990D
$25.00
1991
$25.00
1991D
$25.00
1992
$25.00
1992D
$25.00
1993
$25.00
1993D
$25.00
1994
$25.00
1994D
$25.00
1995
$18.00
1995D
$18.00
1996
$18.00
1996D
$18.00
1997
$18.00
1997D
$18.00
1998
$18.00
1998D
$18.00
1999
$15.00
1999D
$15.00
2000
$15.00
2000D
$15.00
2001
$14.00
2001D
$14.00
2002
$14.00
2002D
$14.00
2003
$14.00
2003D
$14.00
2004
$10.15
2004D
$10.15
2005
$10.15
2005D
$10.15
2006
$10.15
2006D
$10.15
2007
$10.15
2007D
$10.15
2008
$10.15
2008D
$10.15
2009
$10.15
2009D
$10.15
2010
$10.15
2010D
$10.15
Walking Liberty Halves
1934
$2750.00
1935
$2000.00
1935D
$5000.00
1935S
$6250.00
1936
$1600.00
1936D
$3000.00
1936S
$3750.00
1937
$1500.00
1937D
$4750.00
1937S
$3600.00
1938
$2500.00
1939
$2500.00
1939D
$2500.00
1939S
$2400.00
1940
$1800.00
1940S
$1800.00
1941
$1500.00
1941D
$1500.00
1941S
$2800.00
1942
$1200.00
1942D
$1500.00
1942S
$1800.00
1943
$1200.00
1943D
$1800.00
1943S
$1200.00
1944
$1200.00
1944D
$1200.00
1944S
$1500.00
1945
$1200.00
1945D
$1200.00
1945S
$1200.00
1946
$1200.00
1946D
$1200.00
1946S
$1200.00
1947
$900.00
1947D
$1000.00
Franklin Halves
1948
$500.00
1948D
$250.00
1949
$1000.00
1949D
$800.00
1949S
$1800.00
1950
$635.00
1950D
$635.00
1951
$250.00
1951D
$535.00
1951S
$550.00
1952
$235.00
1952D
$235.00
1952S
$750.00
1953
$325.00
1953D
$200.00
1953S
$300.00
1954
$200.00
1954D
$150.00
1954S
$200.00
1955
$200.00
1956
$200.00
1957
$200.00
1957D
$200.00
1958
$200.00
1958D
$200.00
1959
$200.00
1959D
$200.00
1960
$200.00
1961
$200.00
1961D
$200.00
1962
$200.00
1962D
$200.00
1963
$200.00
1963D
$200.00
Kennedy Halves
1964
$200.00
1964D
$200.00
1965
$36.00
1965D
$36.00
1966
$36.00
1967
$36.00
1968D
$36.00
1969D
$36.00
1970D
$275.00
1971
$30.00
1971D
$30.00
1972
$30.00
1972D
$30.00
1973
$30.00
1973D
$30.00
1974
$22.00
1974D
$22.00
1976
$22.00
1976s 40% silver
$120.00
1976s 40% silver proof
$140.00
1976D
$30.00
1977
$30.00
1977D
$30.00
1978
$30.00
1978D
$30.00
1979
$30.00
1979D
$30.00
1980
$20.00
1980D
$20.00
1981
$24.00
1981D
$24.00
1982
$26.00
1982D
$30.00
1983
$30.00
1983D
$30.00
1984
$26.00
1984D
$26.00
1985
$26.00
1985D
$20.00
1986
$52.00
1986D
$52.00
1987
$55.00
1987D
$50.00
1988
$20.00
1988D
$20.00
1989
$20.00
1989D
$20.00
1990
$20.00
1990D
$20.00
1991
$20.00
1991D
$25.00
1992
$20.00
1992D
$22.00
1993
$18.00
1993D
$20.00
1994
$20.00
1994D
$20.00
1995
$15.00
1995D
$15.00
1996
$15.00
1996D
$15.00
1997
$15.00
1997D
$15.00
1998
$15.00
1998D
$15.00
1999
$15.00
1999D
$15.00
2000
$15.00
2000D
$15.00
2001
$15.00
2001D
$15.00
2002
$12.00
2002D
$12.00
2003
$12.00
2003D
$12.00
2004
$10.15
2004D
$10.15
2005
$10.15
2005D
$10.15
2006
$10.15
2006D
$10.15
2007
$10.15
2007D
$10.15
2008
$10.15
2008D
$10.15
2009
$10.15
2009D
$10.15
2010
$10.15
2010D
$10.15
PRIMARY METALS
COPPER
Copper has the distinction of use in more
U.S. coins than any other metal. In fact,
there has been only one coin in U.S.
history—the 1943 cent—that did not
contain copper. Copper was used in its
pure state for the early half cent and large
cent; alloyed into bronze for the later
small cent; alloyed with nickel for the
five-cent piece; and, usually in a 1-to-9
ratio, used as an alloy metal for all our
silver and gold coins from the 18th to 20th
centuries. The most notable use of copper
for our coins was in the Half Cent and
Large Cent. As these coins were entirely
unalloyed, they show the true beauty of
pure copper, many specimens having
toned to remarkable shades of red,
yellow, burgundy, violet, orange, and
virtually every known color. A brief
copper shortage during World War II,
when it became a vital material in war
production, resulted in the noncopper
1943 cent, as well as a reduction in the
copper content of five-cent pieces for
several years. Inflation and the heavy
industrial demand for copper made it
necessary, in 1982, for the cent’s
composition to be changed to zinc with a
copper coating.
SILVER
From the earliest days of the Mint, silver
was regarded as the chief metal for coins
in general circulation. It was used in coins
having face values from 1¢ to $1, those of
higher value being struck in gold.
Problems arose during the administration
of Thomas Jefferson, when silver bullion
carried a higher value abroad than in the
U.S. Huge quantities of our silver coins
were exported by speculators, for the
purpose of melting. This brought about a
long suspension of the silver $1. Then, in
1965, the rising market price of silver in
both the United States and Europe
prompted its removal from the 10¢ and
25¢. It remained in the 50¢ in reduced
quantity, but was later removed from that
coin, too. Silver has traded for as much as
$50 per ounce on the bullion market (early
1980) and currently is trading at
$11.75/oz.
GOLD
The most glamorous of the metals used in
U.S. coinage, gold was employed by the
Mint in striking coins of $1, $2.50, $3, $4,
$5, $10, and $20 denominations as well
as a commemorative coin with $50 face
value. The $10 gold piece, struck for more
than 100 years, was called an Eagle, and
its subdivisions were similarly named:
Quarter Eagle ($2.50) and Half Eagle
($5), with the $20 termed Double Eagle.
The standard fineness for all these coins,
during most of their years of manufacture,
was .900 with an alloying of .100 copper
to give stability. Though all gold
denominations were available for general
circulation, their actual use in circulation
became limited after the Civil War, when
paper currency was introduced. The Great
Depression of this century caused
President Roosevelt to halt all striking of
gold coins and to “call in” all gold coins
for redemption (Gold Recall Act of
1933). Prohibition against private
ownership of gold was removed in the
presidency of Gerald Ford, resulting in its
widespread purchase by investors and
others. In January 1980, gold was being
traded for as much as $800 per troy ounce.
At the time of compiling this edition, the
price is $1175/oz.
WEIGHTS AND MEASURES
OF U.S. COINS
TROY WEIGHT (PRECIOUS
METALS, JEWELS, ETC.)
REFERENCE CHART FOR METAL
CHARACTERS
CIVIL WAR TOKENS
Dale H. Cade
These tokens, among others, have also
been known as “emergency money” or as
“necessity money.” Prior to and during the
Civil War, the government-issued paper
money was generally looked upon
suspiciously by the common person, and
the “hard currency,” or government
coinage, was preferred. This, in turn,
resulted in the “hard currency” being
hoarded and disappearing from the
marketplace, first in the larger
denominations, and then even the one-cent
pieces. This shortage of small coinage
made life very difficult for merchants
trying to make change for their customers.
Earlier attempts at alleviating this
shortage of small change involved the use
of postage stamps, encased postage, and
fractional currency. The stamps, being
inherently quite fragile, had a very limited
useful life, and proved unsuitable as a
medium of commercial exchange. An
enterprising inventor came up with the
idea of encasing stamps in a thin brass
shell with a mica “window” so that the
denomination of the stamp could be seen.
These encased postage stamps provided
the durability that the unencased stamps
did not, but their cost—more than the
value of the stamp within—was a primary
deterrent to their use. The fractional
currency, although more durable than the
unencased postage stamp, was also paper
money, and suffered the same lack of
general acceptance as the governmentissued currency. Specimens of the encased
postage stamps and the fractional currency
can still be obtained, and in a broad sense,
i f issued during the 1860–1864 period,
are also Civil War tokens. However, the
civil war tokens most generally accepted
and collected are to follow.
With the relegation of the stamps, cased
and uncased, and the fractional currency to
the “I thought it was a good idea”
category, the merchants revived an older
practice of issuing metallic tokens
advertising their establishment, and used
them to make change, in lieu of the
vanished “hard currency” of the
government, to carry on commerce. Since
these tokens were the size and color of the
small cent coin issued by the government,
and looked like the small cent, at least
superficially, they were traded at the
value of one cent. While other
denominations are known, the one-cent
valuation was by far the most common,
accounting for well over 95 percent of the
tokens issued.
These tokens would, generally, contain
the merchant’s name and address, the store
name, and the product(s) sold on the
obverse side of the tokens. The reverse
side of the token would usually contain a
patriotic slogan or device. These reverse
designs could, and did, exhibit a wide
range of diversity of design and thought.
Some of the more popular designs
included the American flag, the American
eagle, a bust of Lincoln or Washington or
other dignitaries of the day, the American
Indian head patterned after the Indian head
coinage of the day, and the legend “one
cent,” with variations. The photos to
follow are typical of the store card
product. The attribution used is the Fuld
system, and a more comprehensive
discussion of this system will follow later
in this chapter.
These tokens were a good deal for the
merchants financially, as well as
providing a medium of change for their
customers. The merchants would contract
with a token producer to purchase a
quantity of them bearing their
advertisement at a price significantly
lower than what they would redeem them
for in merchandise or give out as change.
As an example, if a merchant purchased
5,000 tokens at a price of ten dollars, his
cost per token would be two-tenths of a
cent. He would then redeem or exchange
them at a valuation of one cent, realizing a
net profit of 400 percent on the deal. Not a
bad little money maker for the merchant!
In addition to the monetary advantage, the
merchant was receiving valuable
advertising for his place of business by
virtue of his name, address, and
profession or merchandise appearing on
the obverse, a constant reminder to the
holder of the token. You may well ask
why these tokens were valued at only one
cent. Besides the similarities mentioned
earlier, it must be remembered that at the
time of the Civil War, one cent purchased
considerably more than it does today.
What makes Civil War tokens unique is
that unlike most private issue tokens that
are redeemable only at the issuer’s place
of business, these tokens were accepted
by other merchants in lieu of governmentissued hard currency, at the nominal value
of one cent. It has been estimated that over
one million of these tokens are existent
today, and that at the height of their
popularity, over 25 million tokens were
issued. No other token has had the
distinction of having the tacit approval of
the government to replace their coinage
with private mintage coinage. While the
government may not have publicly
approved their use, neither did it strongly
object to it. That the merchants themselves
were not completely at ease with the
legality of what they were doing is evident
by some of the reverse designs that say
“not one cent,” with the “not” appearing
either in very small letters or very large
letters, and in some cases of circulated
pieces, the “not” has been scratched out or
defaced with scratches.
Collectors of Civil War tokens are in
general agreement that to qualify as a
Civil War token, the token should have
been made and issued during the period
1860–1864, mainly in the Northern states,
and mainly east of the Mississippi River.
Currently, 21 states are recognized as
having issued merchants tokens within
their boundaries during the Civil War
years. There are over 8,500 known store
card varieties from over 400 towns and
cities, and some 1,500 merchants. There
are also another 75 or so cards that can be
attributed to Sutlers (merchants to the
military). In addition, there are over 1,800
varieties of patriotic Civil War tokens that
are unattributable to any specific
merchant, but use the store card reverse
dies, plus others. While there were issuers
in Southern and border states, and some
west of the Mississippi River, the
preponderance of issuers lie within the
boundaries previously described. There is
evidence that these tokens enjoyed a wide
circulation for the period of issue.
Unlisted varieties of both store cards and
patriotics are still being located and
reported.
All went well until early in 1864, when
a New York City merchant, the Third
Avenue Railroad, requested another New
York
City
merchant,
Gustavus
Lindenmuller, to redeem a large quantity
of his tokens, which they had accepted in
the course of business. When
Lindenmuller laughingly refused to
redeem his tokens, the railroad had no
redress, and incidents such as these forced
the hand of the government. In April and
June of 1864, the Congress passed acts
that made it illegal to use privately minted
tokens or money in lieu of governmentissued money. Thus ended the era of the
Civil War token as a “hard money”
replacement. The government action,
however, did not forbid the use of these
tokens if their usage was confined to
business dealings solely with the issuer.
This practice continues to this day in some
stores under the euphemism of “credit
check,” “good for,” “wooden nickel,” etc.
These present-day tokens are redeemable
only at the issuer’s place of business, and
only for merchandise, no cash refunds or
cash values.
Civil War tokens are generally the size
of the small copper-nickel Indian Head
cent of 1860 (19mm.), as previously
mentioned. Although there are a few
specimens of other sizes, notably 23mm.
and 26mm. in diameter, this size is by far
the most common, accounting for over 98
percent of the tokens issued, both store
cards and patriotics. Their thickness was
generally between 1.25mm. and 1.50mm.,
although specimens are known outside this
range. By comparison, the copper-nickel
cent is approximately 1.75mm. thick. The
most commonly used materials for these
tokens are copper and brass, which
together account for some 95 percent of
all known Civil War tokens. In addition,
other materials used include two varieties
of “lead” (one is lead-based, the other tinbased), white metal (shown to be
primarily zinc), hard rubber, German
silver (also known in Civil War collecting
circles as “nickel” prior to nondestructive testing that revealed them to be
German silver), copper-nickel (nearly
always a re-stamped government-issued
copper-nickel cent), tin, silver (almost
always struck over a government-issued
dime), and plated varieties including
silver-plated copper and brass pieces,
gold or gilt-plated copper and brass
pieces, copper-plated lead, and tin-plated
copper and brass. (The tin plating and
base material had been thought to be zinc
until electron microprobe and X-ray
diffraction testing proved them to be tin.)
It is generally accepted that the lead,
white metal, hard rubber, German silver,
and, perhaps, the copper-nickel pieces, in
addition to the copper and brass pieces,
were intended for use in the world of
commerce, whereas the silver and plated
pieces were more likely specially made
for private collectors. The reasoning
behind this conclusion is that the cost of
producing these “vanity pieces” or “show
ponies,” as they have sometimes been
called, exceeds by several times the
exchange value in the marketplace. Also
supporting this conclusion is that these
pieces are seldom found in the lower
grades, indicating very little, if any, usage,
and that, probably by accident. These
pieces are generally of high rarity,
compared to the copper and brass pieces,
which also supports the conclusion that
there were not many pieces made, a
position that also supports the idea of
special collector pieces. In today’s
collecting world, the analogy can be made
that these “vanity pieces” roughly
correspond to the mint and proof sets on
today’s market versus the coin strikes
intended for the commercial world. The
term “off metal” is frequently used to
designate token materials other than
copper or brass.
Early collectors of Civil War tokens
devised a rarity scale to denote the
relative abundance of one variety over
another. The scale was derived, in part,
from the noted frequency of appearance on
the market of a given variety, and also, in
part, by their frequency of appearance in
large collections, both private and in
public museums. To this end, the rarity
scale must be considered to be a guide
only (educated guess), and not an absolute
value.
Rarity 10
9
1 only (unique)
2 to 4 pieces (very
rare)
8
5 to 10 pieces (rare)
7
6
5
4
3
11 to 20 pieces
21 to 75 pieces
76 to 200 pieces
201 to 500 pieces
501 to 2,000 pieces
2,001 to 5,000
pieces (common)
over 5,000 pieces
(very common)
2
1
Civil War tokens fall into three
classifications: 1) merchant store cards
(fixed location for place of business); 2)
patriotics (no merchant attribution); and 3)
Sutlers (nonlocal merchants that served
the armed services exclusively). The store
cards are those that have enough
information on the obverse side of the
token to establish the issuing merchant’s
name, the address of his place of business,
and the nature of his business. The reverse
of the token usually carries a patriotic
slogan or symbol, but sometimes will
carry additional information about the
business (see photos below, left). There
are a few specimens where the reverse of
the token carries another merchant’s
message (see photos below, right). This
latter type of token is referred to as a dual
merchant token. Some dual merchant
tokens are for merchants in different cities
or towns, and sometimes in different
states.
Until fairly recently, the attribution of
these Civil War tokens was rather
unwieldy, requiring nearly a complete
description of both obverse and reverse to
correctly identify the token. One of the
earliest attempts to bring order into the
attribution part of this collecting field was
done by Joseph Barnett. A bit later,
Hetrich and Guttag established a
numbering system for Civil War tokens,
both store cards and patriotics. Their
efforts were published in a book, Civil
War Tokens and Tradesmen’s Cards, by
Hetrich and Guttag, published by Alfred
D. Hoch in 1924. The basis for the “H &
G” system, as it was called, was to first
group the known reverse dies by theme or
design, then assign sequential numbers to
them, starting with number 1. A listing of
known die combinations was made
starting with die number 1 as the obverse,
and listing all reverse dies in combination
with die number 1 in numerical sequence,
then all material varieties of a given
obverse/reverse pairing. After assembling
this list, each entry was assigned a number
beginning with 1. Gaps were left in the
number assignment sequence for later
additions. In the H & G book, Joseph
Barnett
added
a
list
of
corrections/additions in the 3rd Edition
(1968), which had been previously
published in the Numismatist in 1943 and
1944.
In similar fashion, Hetrich and Guttag
assigned “H & G” numbers to the Civil
War store cards, arranging them
alphabetically, first by state, then by city
or town within a state, then by merchant
within a town or city, and lastly, by
variety (reverse die number), and by token
material. Joseph Barnett also contributed
corrections/additions to the store card
section of the 3rd Edition. The first store
card H & G number used is 2001, to
separate this series from the patriotic
series, which ended with number 1305.
As in the patriotic system, open numbers
were left for future additions.
While the H & G numbering system was
a great advance when introduced, being
essentially a closed-end system, it became
unwieldy as more varieties tried to find a
place within. In the early 1960s, Melvin
and George Fuld published their “black
book” pamphlets (Whitman Publishing
Company, now out of print) that were the
forerunners of references 1), 2), and 3),
and in which they introduced a new
numbering system (the Fuld numbering
system) for attributing Civil War tokens,
both store cards and patriotics. The Fulds
took the closed-end H & G system and,
following the same arranging sequences
utilized by Hetrich and Guttag, created an
open-ended system. In the Fuld system,
each state was assigned a two-letter
abbreviation, each city or town within the
state had its own number (with lots of
space for new additions), each merchant
in a town or city was assigned a letter
identification, each variety of the merchant
(obverse or reverse variation) was
assigned a number, and lastly, the token
material was assigned a lower-case letter
designator. The Fulds separated the
reverse dies into two lists—those
appearing on patriotic tokens being
assigned numbers from 1 through 999, and
the reverses appearing on store cards
being assigned number 1,000 and higher.
The effect of this was to have dual die
identities in some instances where a
reverse die appeared on both store cards
and patriotic tokens.
To see how this system works for store
cards, take, for example, a Civil War
store card token with this attribution:
MI225AR-4d (ref 1)
This translates as
follows: MI
225
AR
4
D
state of Michigan
City of Detroit
Merchant P. N.
Kneeland
Variety containing a
1047 reverse
Token material is
copper-nickel
Thus, using the Fuld attribution system,
the complete pedigree of the token can be
expressed by a simple short code. As
mentioned earlier, this system is open
ended and adaptable to the inclusion of
new varieties as they become known.
Patriotic Civil War tokens can be
thought of as having store card reverses
for both obverse and reverse designs,
although this is not completely true as
there are some patriotic dies that have no
store card counterpart. When the Fulds
introduced their patriotic attribution
system in the “black book,” the material
designator was omitted. The problem was
that for some die combinations there are
several token materials, and this code did
not differentiate between them. To remedy
this shortcoming, the listings were
augmented in reference 3) to include the
same material designator codes used for
the store cards. For example, a typical
patriotic attribution using Fuld and
augmented Fuld could read:
112/396 (ref 2)
112/396fp (copper) (ref 3)
This translates to
112
396
fp
(copper)
die used on obverse
side of token
die used on reverse
of token
material is silver
plated
base metal of token
is copper
It can be readily seen that the addition
of the material code provides an effective
material discriminator that completes the
attribution without having to resort to
other sources to finish the attribution. The
two photo illustrations following
demonstrate the use of this system.
It is readily apparent that by using these
two similar but differing systems, not only
can the token be immediately classified as
store card or patriotic Civil War token,
but its attribution is also defined. As with
the store card attribution, the lower-case
letter(s) at the end of the die designators
identify the token material. In the case of
plated or “struck over” pieces, an
additional parenthetical expression is
required to define the base material or
understrike.
The third, and last, classification of
Civil War tokens are the Sutler pieces. As
alluded to earlier, the Sutlers were
merchants who attached themselves to
regimental units, and were the unit’s Post
Exchange, to use a present-day equivalent.
Since they had no fixed base of operations
like the local merchants, their tokens
carried a military association rather than a
city or town and street address. They have
also been known as “nonlocal” merchants,
an apt term, since they went where their
regiment went. Their “store” was a horseor mule-drawn wagon that supplied the
needs and “luxuries” not supplied by the
Army. David Schenkman (ref 4) has
established an attribution code for these
Sutlers that provides a short form of
identification. Take, for example, the
following Sutler attribution (Schenkman):
AN25B (ref 4)
This code breaks
down as follows:
Sutler attached to an
Ohio Regiment
(noted on token)
AN
25
B
William Jamison
(also on token)
Good for 25 cents in
goods
token material is
brass
Sutler tokens departed from the
customary valuation of one cent used by
the fixed-base merchants. The lowest
denomination on Sutler tokens is 5 cents,
and other denominations include 10-, 15-,
25-, and 50-cent tokens. These tokens
generally had a patriotic motif on the
reverse, although some carried additional
information for the merchant on the
reverse.
For the collector who likes error
pieces, the Civil War token area is a
personal gold mine! Because of the
apparent laxity of final inspection before
token delivery to the purchaser, a large
proportion of error pieces found their way
into the marketplace. These errors fall into
three distinct groupings: 1) planchet
errors, 2) die errors (die sinking errors),
and 3) striking errors. The first, planchet
errors, consist primarily of planchet
punching errors from the planchet strip.
These errors are known as clips, and may
be curved, straight, or irregular. They
occur when the punch overlaps a
previously punched hole in the strip, when
the punch hangs over the side of the strip,
and when the punch overhangs the end of
the strip, respectively. Other examples of
planchet errors include rough and/or
porous surface planchets made from
poorly prepared planchet strips, an
occasional cracked planchet, and also an
occasional partially delaminated planchet,
also due to poor strip preparation. These
last three errors are rarely, if ever, seen
on U.S. mintage. Since the planchets are
made from mixtures of materials, both remelts and new materials, and since quality
control was virtually nonexistent, it is not
uncommon to find tokens that appear to be
copper on one side and brass on the other
side (bimetallic), but are, in reality, the
result of poor material mixing and
distribution when the original planchet
strip was made.
The second error grouping, die errors,
consists primarily of spelling errors in the
cutting-in (sinking) of the die. There are
specimens that exhibit misspelled street
and city names, sometimes the wrong
state, sometimes the merchant’s name or
stock in trade is misspelled (e.g.,
“GROCKERY” for “CROCKERY,”
“QJEENSLAND”
FOR
“QUEENSLAND” in reference to a line of
fine chinaware, “SEGAR” for “CIGAR,”
etc). There are also transpositions of
letters in a name, and some backward
letters, notably “N”s. Another source of
die errors is incomplete cover-ups of
spelling errors, wherein the original error
spelling is visible along with the
corrected spelling. Sometimes the die
sinker would fill in the offending error
and re-cut the die in part. If this filling
comes out during die use in the press, the
resulting “hole” in the die will produce a
“cud” or “blob” of material on the surface
of the struck token. Of interest, also, are
the few specimens that appear to be a case
of the wrong size die and design. The
“standard” size of a Civil War token is
19mm., or the size of the small cent. There
are Civil War tokens that are larger
(23mm. and 26mm.) that carry a nearly
identical design to their 19mm. brothers,
and one can only wonder if this was
deliberate or an accident. If the latter,
were tokens struck from this incorrect die
size merely to recoup any losses from
fabricating the incorrect die size for the
order? There are many mysteries and
inconsistencies to be found on the Civil
War tokens, and that only adds to their
mystique.
The third grouping, striking errors, is
the most noticeable, after the planchet
errors. The most common of these errors
involves die cracks that produce raised
lines on the struck token. These lines (die
cracks) start out small and progress into
larger (wider and deeper) cracks and
ultimately into a spiderweb-like pattern of
raised lines and sometimes adjacent cuds
if the die starts to crumble along the break.
At this stage, the die is termed
“shattered,” and its useful life is at an end.
In U.S. coinage, dies are not permitted to
approach this stage, but are taken out of
service after just a few small die cracks
are evident.
Another striking error occurs when the
wrong diameter planchet is struck. For
example, a 19mm. die impresses a 26mm.
planchet resulting in a broad, flat “rim”
and normal die impression within. This
product would almost certainly be
“broadstruck” as well, or struck without
the normal strike collar in place. If the
retaining strike collar slips during the
striking, the resulting piece can have a
“railroad rim,” so named because of its
resemblance to a railroad car’s flanged
wheel, or some other strange appearance.
Another striking error occurs when the
upper and lower dies are not properly
aligned, a very common error on Civil
War tokens, and lastly, an “off center”
strike occurs when the planchet is not
correctly positioned at the time of the
striking. Civil War token specimens are
known where the amount of “off center”
approaches 75 to 80 percent, but mostly,
the percentage is smaller, about 10 to 20
percent.
These errors receive a mixed review,
with some collectors wanting no part of
them, and other collectors prizing them
over non-error pieces. This is typical of
what makes collecting Civil War tokens
interesting. They are not rigidly structured
like U.S. coinage, and may be collected in
numerous ways. Some of the more popular
collecting approaches are: by subject
(Indian head, Liberty head, Washington,
Lincoln, eagle, etc.); by profession
(druggist, dentist, dry goods merchant,
product, etc.); and by state, city, or
merchant sets. The ways to collect Civil
War tokens are limited only by your
imagination and your pocketbook.
Because of the many designs present on
Civil War tokens, grading of these pieces
can be more of a problem than with U.S.
coinage. In reference 2, there is a chapter
on pricing and grading of Civil War
tokens. The grading does not involve the
cosmetics of the token, but only the
relationship of its present state to that
when it was issued. The grading is
presented both pictorially and in written
form, and is based on the grading
descriptions of small cents of the Civil
War era, as described in Brown and
Dunn, A Guide to the Grading of United
States Coins. As a general rule, grades
below fine (F) are not collectible except
where the piece is of high rarity (R9 or
R10). The grade is usually expressed
using the letter grading system (UNC., AU,
XF, VF, F, etc.), although some dealers
prefer to combine the letter grade with the
numerical grade of the Sheldon system.
This combining of systems yields grades
that read: UNC-60, AU-50 or 55, XF-40
or 45, VF-20 or 30, F-12, VG-8, G-4, and
AG-3. In all cases, the second number
represents the “grade ” rating, or better
than the base grade, but not good enough
for the next higher grade. A “grade ” is
not normally used.
Pricing of these Civil War tokens is
dependent on four factors: 1) the
attribution of the token; 2) the token
grading; 3) the token rarity; and 4) the
cosmetic appearance of the token. The
first three factors have been discussed
earlier. By cosmetic appearance, I am
referring to the “eye appeal” of the token,
and this involves the presence or absence
of things such as residues, stains, minor or
major damage such as nicks, gouges, deep
scratches, etc., and of course, the
previously mentioned errors. Cleaning of
tokens is generally discouraged, and a
negative factor, but some collectors do not
mind that the token has been cleaned. It is
purely a matter of personal choice. Prices
for “off metal” pieces command a
premium over the prices for copper or
brass pieces of the same die pairings.
Also, keep in mind that a 130-year-old
circulated token is bound to pick up a few
bruises along the way. To this end, small
gouges (“bag marks,” the effects of other
coins/tokens rubbing while carried in a
pocket or purse, etc.) and minor scratches
are considered “normal” for these tokens,
and have been factored into the pricing
guide to follow.
Because of the volatility of prices in the
token market, any attempts to quote prices,
including this attempt, must be considered
as a guide only. Prices for a given piece
will vary from seller to seller, and from
coast to coast. The examples to follow are
for a Civil War token in extra fine (XF)
grade with “normal” wear and tear no
major problems, and no extenuating
circumstances such as the only issue of a
merchant, city, state, etc.
RARITY
1 or 2
3 or 4
5 or 6
7 or 8
PRICE
5 to 7 times rarity
(in dollars)
6 to 7 times rarity
7 to 9 times rarity
9 to 12 times rarity
9 or 10
Upwards of 15 to 20
times rarity (price is
set by seller)
“Off metal” pieces command an
additional 30 to 50 percent of the base
price. I must emphasize again that the
foregoing “prices” must be treated as a
guide only, and that particular pieces
may cost more or less than the table
would indicate. For tokens grading less
than XF, prices should be reduced by 10
to 20 percent per grade. For grades above
XF, prices should be increased by 20 to
30 percent for AU, and 50 percent or more
for Uncirculated pieces. For pieces that
are virtually free of “normal” wear and
tear, a premium of 10 to 15 percent should
be expected. For pieces that have more
than “normal” wear and tear, a price
reduction of 5 to 10 percent could be
expected, and if there is minor damage
(rim nicks, prominent gouges or deep
scratches, interior damage areas, etc.), a
bigger price reduction of 10 to 20 percent
could be expected. There are some Civil
War tokens that command higher prices by
virtue of being the only card issued by a
merchant, a town, or a state; a prized error
piece; a card common to both the Civil
War era and to another collecting field
(for example, a transportation token, a
pharmacy, a saloon, a brewery, etc.); and
others.
The Civil War Token Society is a
national nonprofit organization founded in
1967 for the purpose of stimulating
interest and research in the field of Civil
War token collecting as a hobby. Society
activities include the publishing of a
quarterly journal containing articles of
general interest to Civil War token
collectors, the conducting of quarterly
auctions for the benefit of the Society
membership, maintaining a library for the
use of the membership, providing an
attribution service for members, and
establishing local chapters and conducting
regional meetings. We hold an annual
business meeting in conjunction with the
American Numismatic Association (ANA)
meeting in the summer of each year. The
library has a number of Civil War token
slide shows that are available on a loan
basis for members to present at local
meetings. The annual membership dues
are $10, and information about the Civil
War Token Society may be obtained by
contacting the Society secretary, Dale
Cade, 26548 Mazur Drive, Rancho Palos
Verdes, California, 90275. The references
1), 2), and 3) are products of the Civil
War Token Society efforts, and are
accepted as the definitive texts in the Civil
War token collecting field. Likewise,
reference 4) was authored by one of our
Society members, and it, too, is
considered to be one of the definitive texts
in the Sutler collecting field.
References:
1) FULD, U.S. Civil War Store Cards,
2nd Edition, 1975 (Quarterman Pubs).
2) FULD, Patriotic Civil War Tokens,
4th Edition, 1982 (Krause Pubs).
3) CIVIL WAR TOKEN SOCIETY,
Die Photos and Fuld/ Moore Listings
Update of Patriotic Civil War Tokens,
4th Edition, 1993 (CWTS Pubs).
4) SCHENKMAN, Civil War Sutlers
Tokens and Cardboard Scrip, 1983 (Jade
House Pubs).
CONFEDERATE COINAGE
Following its secession from the Union
in 1861, the Confederate government of
Louisiana took control of the federal Mint
at New Orleans (the only Mint operating
in Southern territory), along with its
materials and machinery. Jefferson Davis,
president of the C.S.A., appointed C. G.
Memminger his secretary of the Treasury
and authorized production of a
Confederate half dollar. This was
presumably manufactured by taking
ordinary half dollars and removing their
reverse motif, to which was added a
shield with seven stars (one for each state
that had joined the C.S.A.), a Liberty cap,
a wreath of sugarcane and cotton, and the
wording CONFEDERATE STATES OF AMERICA HALF
DOL. No serious effort was made to
circulate this coin, only four specimens
being struck. Restrikes were later made. J.
W. Scott somehow got hold of the original
reverse die and, having keen business
aptitude, struck off 500 examples for sale
to souvenir hunters. He used his own
obverse, consisting of wording without
portraiture or other design.
CONFEDERATE HALF
DOLLAR
CONFEDERATE CENT
This was the only Confederate coin
intended for general circulation—and it
never got that far. Robert Lovett of
Philadelphia was commissioned by agents
of the C.S.A. to prepare coins in the
denomination of one cent in 1861. He was
to design the coin, engrave their dies, and
do the actual striking as well. After
producing a certain quantity, of which
only twelve have been discovered, Lovett
ceased operations and hid both the coins
and the dies from which they were struck,
fearing, as a resident of the North, arrest
by authorities on grounds of complicity
with the enemy. Restrikes were
subsequently made, in gold, silver, and
copper, by John Haseltine. The figures
given here for mintages of the restrikes are
based on best available information.
Haseltine, in his memoirs of the affair,
states that the die broke on the fifty-ninth
coin. There are nevertheless believed to
be seventy-two restrikes in existence.
Haseltine made a point of striking no
reproductions in nickel for fear they might
be taken for originals.
GLOSSARY
Coin collecting, like any hobby, has a
language of its own spoken by its
practitioners and students. New collectors
unfamiliar with terms like obverse,
reverse, mint mark, and Double Eagle may
feel confused by a bewildering lexicon.
But the language need not be confusing.
The terms defined here are those that
may be commonly encountered during the
normal course of coin collecting. Many
terms mentioned within the definition for
another term are often defined
individually as well.
Alloy. Mixture of more than one metal.
Altered. A coin that has been deliberately
changed to make it resemble a rare or
more valuable piece.
American Eagle. A legal tender bullion
coin struck and issued by the U.S.
Mint beginning in 1986. The Mint
strikes four .9167 fine gold coins and
a .999 fine silver coin.
Bag marks. See Contact marks.
Bicentennial coins. Quarter dollar, half
dollar, and dollar struck in 1975–76
with special reverse designs
commemorating the 200th anniversary
of the signing of the Declaration of
Independence.
Blank. An unstruck disc of metal that
when fully processed becomes a
planchet, which is later turned into a
coin. Simply put, a blank is a planchet
that has not been through the entire
planchet-making process. See
Planchet.
Buffalo nickel. Nickname given the Indian
Head 5-cent coin. Nickname is
commonly used; most U.S. coins are
named after their obverse design; the
creature on the reverse is a bison, not
a buffalo; and no U.S. coin
denomination is legally designated a
“nickel.”
Clad. Composite coinage metal strip
composed of a core, usually of a base
metal such as copper, and surface
layers of more valuable metal like
copper-nickel. The U.S. dimes,
quarter dollars, and half dollars struck
since 1965 are a clad coinage.
Coin. Usually a piece of metal, marked
with a device, issued by a governing
authority and intended to be used as
money.
Colonial coins. Coins struck by one of the
thirteen British colonies prior to the
American Revolution. Few of the
colonial coins were struck with the
authority of the British throne, which
legally had all coinage rights in Great
Britain and the colonies.
Commemorative coin. A coin struck to
celebrate a specific individual, event,
or group, often on an anniversary date.
Commemoratives can be struck for
sale to collectors, such as those struck
to commemorate the 1996 Olympic
Games in Atlanta, or for circulation,
such as the 1976 Bicentennial coins.
Contact marks. Surface abrasions found
on U.S. coins as a result of coins
striking the surfaces of other coins
during bagging and shipping
procedures.
Coronet. A style of Liberty Head used on
U.S. copper and gold coins for much
of the 19th century. Liberty wears a
coronet (usually marked with the word
LIBERTY).
Date. The date on a coin generally, though
not always, represents the year a coin
was struck. For example, most coins
dated 1996 were actually struck in
1996. However, during the coinage
shortage that hit the United States in
the mid-1960s, 1964- and 1965-dated
coins were struck into 1966 in an
attempt to prevent hoarding.
Denomination. The face value of a coin;
the amount of money it is worth as
legal tender.
Device. The principal design element,
such as a portrait, shield, or heraldic
emblem, on the obverse or reverse of
a coin.
Die. A hardened metal punch, the face of
which carries an incuse mirror-image
to be impressed on one side of a
planchet.
Disme. Original spelling of “dime.”
Believed to have been pronounced to
rhyme with “team” or possibly with a
silent “s,” to sound the same as the
modern “dime.”
Double Eagle. A $20 gold coin of the
United States.
Eagle. A $10 gold coin of the United
States.
Edge. Often termed the third side of a
coin, it is the surface perpendicular to
the obverse and reverse, not to be
confused with the rim. Edges can be
plain, reeded, lettered, or otherwise
ornamented.
Fantasy. An object having the physical
characteristics of a coin, issued by an
agency other than a governing
authority (or without official
sanction), yet purporting to be issued
by a real or imagined governing
authority as a coin.
Field. The flat part of a surface of a coin
surrounding and between the head,
legend, or other designs.
Flow lines. Microscopic striations in a
coin’s surface caused by the
movement of metal under striking
pressures.
Frost. Effect caused by striking a coin
with sandblasted dies, often used in
reference to Proof coins.
German silver. An alloy of copper,
nickel, and zinc, but no silver. Also
called American silver,
Feuchtwanger’s composition, and
nickel-silver.
Grading. The process of determining a
coin’s condition or level of
preservation. A coin’s grade
represents the amount of wear and tear
it has received since it was struck.
The less wear, the higher the grade
and the higher the value. A popular
grading scale in use today uses a 1-70
scale, with 70 representing rarely seen
perfection and 1 representing a coin so
worn that it can barely be identified as
to date and design.
Half cent. The smallest denomination
issued by the United States. Struck
between 1793 and 1857.
Half dimes, half dismes. A silver 5-cent
coin of the United States. The Mint
Act of April 2, 1792, authorized “half
dismes.” See Disme for pronunciation
guidelines.
Half Eagle. A $5 gold coin of the United
States.
Hub. A right-reading, positive punch used
to impress wrong-reading, mirrorimage dies.
Incuse. The opposite of bas-relief; design
is recessed rather than raised. Used
when referring to coins, medals, and
tokens.
Indian Head 5-cent coin. Seven
denominations of U.S. coin have borne
an Indian Head design; 1-cent, 5-cent
coin, gold dollar, $2.50 quarter Eagle,
$3 gold coin, $5 Half Eagle, and $10
Eagle. See also Buffalo nickel.
Intrinsic. As applied to value, the net
metallic value as distinguished from
face and collector value.
Jugate. Accolated, conjoined. As related
to coins, it refers to a design featuring
overlapping portraits, such as on the
1900 Lafayette-Washington
commemorative silver dollar.
Krugerrand. A gold bullion coin of South
Africa. It is composed of .9167 fine
gold and is available in several
weights.
Large Cent. Refers to the U.S. cents of
1793–1857, with diameters between
26 and 29mm., depending on the year
a particular coin was struck.
Legal tender. Currency (coins or paper
money) explicitly determined by a
government to be acceptable in the
discharge of debts.
Lettered edge. An incused or raised
inscription on the edge of a coin. The
last U.S. coin to have a lettered edge
was the 1992 Olympic Games silver
dollar.
Minor coin. For U.S. coins, a silver coin
of less than $1 face value, or any coin
struck in base metal.
Mint mark. A letter or other symbol
indicating the Mint of origin.
Money. A medium of exchange.
Nickel. A silver-white metal widely used
for coinage. It is factually incorrect to
use “nickel” for the copper-nickel 5cent coin. In the mid-19th century,
copper-nickel cents and 3-cent coins
were also nicknamed “nickel,” like the
modern 5-cent coin. The U.S. Mint has
never struck a coin officially called a
“nickel.”
Numismatics. The science, study, or
collecting of coins, medals, paper
money, tokens, orders and
decorations, and similar objects.
Numismatist. A person knowledgeable in
numismatics, who conducts serious,
frequently original research.
Obverse. The side of a coin that bears the
principal design or device, often as
prescribed by the issuing authority. In
informal English, the “heads.”
Pattern. Coinlike piece designed to test
coin designs, mottoes, or
denominations proposed for adoption
as a regular issue and struck in the
metal to be issued for circulation, but
which were not adopted, at least in
year of pattern issue. The 1856 Flying
Eagle cent is a pattern; the coin was
not struck for circulation or authorized
until 1857.
Penny. The nickname given the 1-cent
coin. The U.S. Mint has never struck a
penny for use in the United States. The
nickname derives from the country’s
English origins; England still uses a
denomination called a penny.
Pioneer gold. Gold coins, often privately
produced, struck in areas of the United
States to meet the demands of a
shortage of coins, generally in
traditional U.S. coin denominations.
Often called “private gold,” which is
correct for many but not all of the
issues, and “territorial gold,” which is
incorrect since none of the coins were
struck by a territorial government.
Planchet. The disc of metal that, when
placed between the dies and struck,
becomes a coin. A planchet differs
from a blank in that it has been fully
processed and is ready for striking
into a coin. See Blank. Also called
flan, generally in reference to ancient
coins.
Proof. A coin struck especially for
collectors, using special techniques
that impart special surfaces to a coin.
A set of Proof coins is called a Proof
set. The U.S. Mint offers collectors
Proof versions of its circulating
coinage, American Eagle bullion
coins, and commemorative coins.
Quarter dollar. A 25-cent coin of the
United States.
Quarter Eagle. A $2.50 gold coin of the
United States last struck in 1929.
Restrike. A numismatic item produced
from original dies at a later date. In
the case of a coin, the restrike usually
occurs to fulfill a collector demand
and not a monetary requirement.
Reverse. The side opposite the obverse,
usually but not always the side with
the denomination. The side opposite
the side containing the principal
design. Informally, the “tails.”
Series. Related coinage of the same
denomination, design, and type,
including modifications and varieties.
Slab. A rigid plastic, permanently sealed
holder, usually rectangular, especially
those used by third-party grading
services.
Three-dollar gold. The United States
issued a $3 gold coin from 1854
through 1889.
Type. A basic coin design, regardless of
minor modifications. The Indian Head
and Jefferson 5-cent coins are
different types.
Uncirculated Mint set. A set of
Uncirculated coins sold by the U.S.
Mint. It generally contains an example
of each coin struck for circulation that
year. However, some sets contain a
coin or coins not being struck for
circulation that year.
Unique. Extant in only one known
specimen. Very often misused, as in
“semiunique.”
Variety. The difference between
individual dies or hubs of the same
basic design or type. For example, the
dies used by the U.S. Mint in the 18th
and 19th centuries featured many
design elements, such as letters,
numerals, and stars, that were punched
in by hand individually on each die.
Thus the date on one coin might be
positioned slightly differently than the
date on a coin from another die. The
differences between the two dies
represent different varieties.
Vignette. A pictorial element on a piece
of paper money, such as the image of
the Lincoln Memorial on the back of
the $5 bill.
Want list. A list given by a collector to a
dealer listing coins wanted for the
collector’s collection.
Whizzing. The severe polishing of a coin
in an attempt to improve its
appearance and salability to the
uninformed. A form of alteration
considered misleading by the coin
collecting community, and which
actually lowers the value of a coin.
Wire Rim. Slight flange on coins or
medals caused by heavy striking
pressure, often characteristic of Proof
coins.
Year set. A set of coins of a given year,
generally privately or individually
produced.
Zinc cent. A nickname applied to the
current Lincoln cent. The composition
was changed in 1982 from brass (95%
copper, 5% zinc) to copper-plated
zinc in order to reduce the cost of
producing the cent.
FAST-FIND COIN
REFERENCE INDEX
Colonial Coins, Patterns, and Tokens
Auctori Plebis Token
Baltimore, Maryland, or Standish Barry
Coinage
Bar Cent
Brasher Doubloons
Castorland
Colonial Plantation Token
Confederatio Cent
Connecticut Coinage
Continental Dollar
Elephant Token
Franklin Press Token
French Colonies in America
Fugio Cents
George Washington Coinage
Georgius Triumpho Token
Gloucester Token
Higley Coinage (Granby Coinage)
Immune Columbia
Kentucky Token
Machin Coppers
Mark Newby or St. Patrick Halfpence
Maryland-Chalmers Tokens
Maryland Coinage
Massachusetts Coinage
Massachusetts Halfpenny
Massachusetts Pine Tree Copper
Massachusetts–New England Coinage
Mott Token
New Hampshire Coinage
New Haven Restrikes
New Jersey Coinage
New York Coinage
New Yorke Token
North American Token
Nova Constellatio Coppers
Nova Constellatio Silvers
Oak Tree Coins
Pine Tree Coins (Bay Colony)
Pitt Tokens
Rhode Island Token
Rosa Americana
Sommer Islands Shilling (Hog Money)
Specimen Patterns
Talbot, Allum, and Lee Cents
Vermont Coinage
Virginia Coinage
Voce Populi Coinage
Willow Tree Coins
Wood’s Coinage or Hibernia Coinage
Commemorative Coinage (see Gold or
Silver Commemorative Coinage)
Commemorative Medals
2 Kroner, Sweden
North American Centennial
So-Called Wilson Dollar
Confederate Coinage
Confederate Cent
Confederate Half Dollar
Dimes
Barber
Draped Bust
Liberty Cap
Liberty Seated
Mercury
Roosevelt
Dollars (Silver and Clad)
Draped Bust
Eisenhower
Flowing Hair
Liberty Seated
Morgan
Peace
Sacagawea
Susan B. Anthony
Trade
First U.S. Mint Issues
Birch Cent
Silver Center Cent
Gold Commemorative Coinage
American Eagle Gold Bullion Coin
American Independence $2.50
Bill of Rights–Madison Half Eagle
Civil War Battlefields Half Eagle
Columbus Discovery Half Eagle
Congress Bicentennial Half Eagle
Constitution Gold Commemorative
Five Dollar Gold 1988 U.S. Olympic
Coin
Five Dollar Gold 1995 U.S. Olympic
Coin
Franklin D. Roosevelt $5.00
George Washington $5.00
Grant One Dollar Gold Memorial Coin
Jackie Robinson $5.00
Lewis and Clark Dollar
Library of Congress Bimetallic $10.00
Los Angeles XXIII Olympiad Ten
Dollars
Louisiana Purchase Dollar (Jefferson or
McKinley)
McKinley Dollar
Mount Rushmore 50th Anniversary Half
Eagle
XXV Olympic Half Eagle 1992
2002 Olympic Winter Games $5.00
Panama-Pacific Dollar
Panama-Pacific $2.50
Panama-Pacific Fifty Dollars
Smithsonian Institution Gold $5.00
Statue of Liberty Gold Commemorative
U.S. Capitol Visitor Center $5.00
World Cup Half Eagle
WWII 50th Anniversary Half Eagle
Gold Dollars
Liberty Head
Large Liberty Head
Small Indian Head
Gold $2.50 Pieces
Indian Head
Liberty Cap
Liberty Head Bust Type
Liberty Head with Coronet
Liberty Head with Ribbons
Gold $3.00 Pieces
Gold $4.00 Pieces
Gold $5.00 Pieces
Indian Head
Liberty Head
Liberty Head with Coronet
Liberty Head—Draped Bust
Liberty Head with Ribbon
Liberty Head—Round Cap
Gold $10.00 Pieces
Indian Head
Liberty Head
Liberty Head with Coronet
Gold $20.00 Pieces
Liberty Head
St. Gaudens
Half Cents
Braided Hair
Draped Bust
Liberty Cap
Turban Head
Half Dimes
Draped Bust
Flowing Hair
Liberty Cap
Liberty Seated
Half Dollars
Barber
Capped Bust
Draped Bust
Flowing Hair
Franklin
Kennedy
Liberty Seated
Turban Head
Walking Liberty
Large Cents
Braided Hair
Coronet Head
Draped Bust
Flowing Hair
Liberty Cap
Turban Head
Nickels
Buffalo
Jefferson
Liberty Head
Shield
Quarters
Barber
Draped Bust
Liberty Cap
Liberty Seated
Standing Liberty
Washington
Silver and Clad Commemorative
Coinage
Alabama Centennial Half Dollar
American Buffalo Dollar
American Independence Half Dollar
American Silver Dollar Eagle Bullion
Coin
Arkansas Centennial Half Dollar
Arkansas–Robinson Half Dollar
Battle of Antietam Half Dollar
Battle of Gettysburg Half Dollar
Bill of Rights–Madison Dollar
Bill of Rights–Madison Half Dollar
Black Revolutionary War Patriots
Dollar
Booker T. Washington Half Dollar
Booker T. Washington–George
Washington Carver Half Dollar
Botanic Garden Dollar
California Diamond Jubilee Half
Dollar
California-Pacific Half Dollar
Capitol Bicentennial Dollar
Civil War Battlefields Dollar
Civil War Battlefields Half Dollar
Cincinnati Music Center Half Dollar
Cleveland/Great Lakes Half Dollar
Columbian Half Dollar
Columbus Discovery Dollar
Columbus Discovery Half Dollar
Congress Bicentennial Dollar
Congress Bicentennial Half Dollar
Connecticut Half Dollar
Connecticut/Bridgeport Half Dollar
Constitution Silver Dollar
Commemorative
Daniel Boone Half Dollar
Delaware Half Dollar
Dolley Madison Dollar
Eisenhower 100th Anniversary Silver
Dollar
Fort Vancouver Half Dollar
Grant Half Dollar
Hawaii Discovery Half Dollar
Hudson Half Dollar
Huguenot-Walloon Half Dollar
Illinois Centennial Half Dollar
Illinois/Elgin Half Dollar
Iowa Statehood Half Dollar
Jackie Robinson Dollar
Jefferson Dollar
Korean 38th Anniversary Silver Dollar
Lafayette Dollar
Law Enforcement Officers Memorial
Dollar
Leif Ericson Millenium Dollar
Lexington-Concord Half Dollar
Library of Congress Dollar
Long Island Half Dollar
Los Angeles XXIII Olympiad
Maine/York County Half Dollar
Maine Centennial Half Dollar
Maryland Half Dollar
Missouri Centennial Half Dollar
Monroe Doctrine Half Dollar
Mount Rushmore 50th Anniversary
Clad Half Dollar
Mount Rushmore 50th Anniversary
Silver Dollar
National Community Service Silver
Dollar
National POW Museum Dollar
New York/Albany Half Dollar
New York/New Rochelle Half Dollar
Old Spanish Trail Half Dollar
XXIV Olympic Silver Dollar 1988
XXV Olympic Clad Half Dollar 1992
XXV Olympic Silver Dollar 1992
XXVI Olympic Dollar
XXVI Olympic Half Dollar
2002 Olympic Winter Games Dollar
Oregon Trail Half Dollar
Panama-Pacific Half Dollar
Pilgrim Tercentenary Half Dollar
Providence, Rhode Island,
Tercentenary
Roanoke Colonization Half Dollar
Robert F. Kennedy Dollar
San Francisco–Oakland Bay Bridge
Half Dollar
Smithsonian Institution 150th
Anniversary Silver Dollar
South Carolina/Columbia Half Dollar
Special Olympics Dollar
Statue of Liberty Commemorative
Statue of Liberty Silver Dollar
Commemorative
Stone Mountain Memorial Half Dollar
Texas Independence Half Dollar
U.S. Capitol Visitor Center Dollar and
Half Dollar
U.S.O. 50th Anniversary Silver Dollar
Vermont Half Dollar
Vietnam Veterans Memorial Silver
Dollar
Virginia/Lynchburg
Sesquicentennial Silver Half Dollar
Virginia/Norfolk
Bicentennial/Tercentenary Silver
Half Dollar
Washington 250th Anniversary
White House Bicentennial Silver
Dollar
Wisconsin Half Dollar
Women in Military Service for
America Memorial Silver Dollar
World Cup Soccer Clad Half Dollar
World Cup Soccer Silver Dollar
WWII 50th Anniversary Dollar
WWII 50th Anniversary Half Dollar
Yellowstone National Park Dollar
Small Cents
Flying Eagle
Indian Head
Lincoln Head
Lincoln Memorial
Three-Cent Pieces
Three-Cent Pieces—Nickel
Three-Cent Pieces—Silver
Twenty-Cent Pieces
Two-Cent Pieces—Bronze
U.S. Proof Sets
U.S. Mint Sets
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